we ae Oe ae 


ta ates bys Seabee fre Sa re tity SR IC ae tre 


Prat A Ay Sp aca nt ta I PN ec om 
a - . " plore tee Ge 


2 ce yam ep ital = ha 
een tna ele 


ee aS —— 


PAP APR Yel PIN I a ll 
nom —— my ee . i 2 Aen hn pay TS nN 
—_—* tie on SO c ™ ~~ e we wor es ae ot eet, tah nt I re 
ltt, Pinal * Se AA— a 


Lal aie i a a 
rarer, tli i ge ape: Mero Ap NO en > 


ote » Fo 
ey Som rey eee ee ee re Ses 

Prt Pept IS tei 0 $9 tea Fe 
say ae. Wee 


wi Ate et Ol -_— 
san Pcl se a ee te 
tne &  eagrets Petine # & 
_— < - = ¥ 


+s 


} 


oo - 


En? 


ss 


CYCLOPEDIA OF 


PAINTERS AND PAINTINGS 


VOLUME | 


AAGAARD—DYER 


oe ‘At ‘ : 
IN UNIFORM BINDING 

CYCLOPEDIA OF MUSIC AND MUSI 
_ THREE VOLUMES, ROYAL 8VO — 

ee 

a - ’ i a 

\ 
a 


pegs f, 


a ee 
5 ahs 


AS 
xd 
ork i 


= he ¥ 
Bee 
7] 


CYCLOPEDIA OR 


PAINTERS AND PAINTINGS 


4) 


EDITED BY 


JOHN DENISON CHAMPLIN, JR. 


CRITIGAL EDITOR 


SHARILESC.. PERKINS 


Corresponding Member of the French Institute 


WITH MORE THAN TWO THOUSAND ILLUSTRATIONS 


VOLUME I 


NEW YORK 


CHARLES SCRIBNER’S SONS 
MCMXIII 


ra 


% 


‘bt, 1885, 1886, | 


° 


Co 


—— 


PWEPACE, 


HE years of laborious preparation devoted to this work 
if _ show that its projectors have not only believed it to be 
needed, but have expected for it a novel as well as stand- 
ard place among authorities upon its subject. The Cyclopedia of 
Painters and Paintings founds its claim to this position especially 
upon three things: the character and comprehensiveness of the 
information which, through its text and illustrations, it for the 
first time makes accessible ; the new simplicity of its arrangement ; 
and the bibliography, of a kind hitherto unattempted, through 
which it furnishes a key and guide to the whole literature of its 
art. 

It is not only a fuller biographical dictionary than now exists 
of the painters of all times and schools, including prominent con- 
temporaries, but it is as well a dictionary of works; and in a 
form in which the one branch of information is as immediately 
accessible as the other. The important paintings of all periods 
are treated under their own names, in separate articles, in which 
are given an accurate description of each work, its date, its 
place of | preservation, its history from the time of leaving the 
painter’s easel, notices of its replicas and copies, the names of its 
engravers, and such other facts as make the account as nearly as 
possible exhaustive. Both biographical and descriptive articles 
are based, not upon statements accepted in any sense at second 


v 


PREFACE 


hand, but upon close research, conducted with the hope of making : 
this work virtually an original authority—their facts being de- 
rived from the latest monographs in all languages on the several © 
painters and schools, from the art periodicals of many countries, 
and from autobiographical memoranda and other original material. — 
The latest catalogues of all the great art museums of the world, — 
and of many private collections, have also been carefully collated, 
so that the information given is the best and fullest accessible up 
to the date of publication. | 

The method of arrangement of the Cyclopedia is believed to 
be especially practical, intelligible, and convenient. The bio- 
graphical and descriptive articles are combined under a single al- 
phabet; a novel plan enabling any reader, with no knowledge 
of a well-known painting other than the name, to turn to it 
directly, and trace its history back to its author. A simple cross- — 
reference system also enables the reader of the biographical ar- 
ticles to tell at a glance what works of each artist are treated at — 
length, the italicizing of a single word in the name of a picture 
showing that under that word a separate article upon it will be 
found. 

» the bibliography appended to each article is such as will guide 
the reader to further and more minute investigation than would 
be possible in any book of reference; even, it may be said, to an : 
exhaustive study of the whole literature of the topic. It em- 
braces, besides English works and periodicals, those in French, 
German, Italian, Spanish, Dutch, and Danish. 

In the illustration of the work, nothing has been spared that 
could make it valuable and really representative. The articles — 
contain portraits of prominent artists, living and dead, fac-similes : 
of their monograms and signatures, and outline sketches of 
the important pictures of the older masters, intended as aids 


vi 


Pike be AO 


to the verbal description, and as memoranda of the com- 
positions. 

The Cyclopedia being intended primarily for English readers, 
each painter is treated under his best-known English appellation, 
whether surname, assumed name, or sobriquet. Thus, Correggio 
will be found under that title, and not under his less-known family 
name of Allegri; and, in like manner, Domenichino will be used. 
instead of Zampieri, Giorgione instead of Barbarelli, Pinturicchio 
instead of Biagi, Raphael instead of Sanzio, Tintoretto instead of 
Robusti, Titian instead of Vecelli, ete. 

The work is under obligations to Mr. Louis von Eltz for his 
efficient labors during its entire progress, and especially for his 
valuable aid in researches connected with the German, Flemish, 
Dutch, and Scandinavian schools of painters. 

Thanks are due, also, to the superintendent and other officials 
of the Astor Library for numerous privileges and courtesies, with- 
out which the work on the Cyclopedia would have been attended 
with great difficulties, if not rendered impossible. 


= 


1. ApraHAM AND ANGELS ..... DL TTNGP na lao 2k via dig ee oes Stafford House, London. 
2. ABRAHAM, Sacrifice of ....Rembrandt............. Hermitage, St. Petersburg. 
3. ApraHaM, Sacrifice of ....Andrea del Sarto .......cceceeees Dresden Gallery. 
4, Acuitues, Epucation oF...Jean Regnault ........ cece eee ccees Louvre, Paris. 
5. Apam, CREATION OF....... LLANE TO a (eaten AORN i NEE Vatican, Rome. 
PooAUAM AND HVE oes... PUtppind LAVO 2s ks ee de ee oe Carmine, Florence. 
7. ApamM AND EveE........... RO ELATUICUD Oa", ia sob k aria cock he eae Vatican, Rome. 
8. Aponis, DzarH oFf........ TUMUPOULO A ca iea wc corn Ses baw eae satis Uffizi, Florence. 
9. A : Te 
ac oe mou Sebastian del Piombo ....... Palazzo Pitti, Florence. 
10. Acnes, St., Martyrpom oF. .Domenichino....-....ceeeeeeeees Bologna Gallery. 
Pie wAMAZONS, DATTLE OF THE...UDENS 00... ccc ce eee we ceases Munich Gallery. 
Bee fe Eurznon RUDE TS Hie Ne eet ty the aah eras Vienna Museum. 
THEODOSIUS ....... 
18. Anatomy, Lesson IN...... BENOP ORIG 2 46a eo are ess National Gallery, Amsterdam . 
14, ANNUNCIATION ..........+- EV BOPEOLOMIMEO © aise sle's oun » aaa Cee ees Louvre, Paris. 
15. ANNUNCIATION .........--.- LOdouco COSTOLCE.. ce cv ee ehck ee wus Louvre, Paris. 
Mg “arree eee ERATION } Pieter Brueghel, the younger....... Dresden Gallery 


ee = oF Pins, 8, Elisabetta Sivant ....ccccccccccess Bologna Gallery. 
AND InrantT JESUS.. 

Mo. ANTIOPE.......... “pear COTTE aos Cie ore Sha ease ee Louvre, Paris. 

20. ApoLLto AND DAPHNE ...... Francesco Albant......cccccessceess Louvre, Paris. 

21. Apotto AND Marsyas...... Luar Ctn eon as ie PROS Palazzo Pitti, Florence. 

22. Apotto anp Marsyas...... Panik Occ s ewan. «nace n pi siniee wes Louvre, Paris. 

23. Arcapia, SHEPHERDS OF... .Nicolas Pousstn.......eseeeeeeeeees Louvre, Paris. 


. AntHony oF Papva, stn! 


LIST OF ILLUSTRATIONS 


OUTLINES OF PAINTINGS. 


AND INFANT JESUS.. 


ix 


‘24. 
25. 
26. 
‘27. 
28. 
29. 
30. 
Ol, 
32. 
33. 


34. 
OO. 


36. 


37. 
38. 
39. 
40. 
41. 
42. 
43. 
44, 
45. 
46. 
47. 
48. 
AQ, 
50. 
51. 
52. 


Do. 


54. 
55. 
56. 
57. 
58. 
59. 
60. 
61. 
62. 
63. 


OUTLINES OF PAINTINGS 


82 


88 


217 @ 


PAGE 
PRADEEP Gi tian se hehe sad Luca Gaordand aise stain ass ole ee Dresden Gallery. 
ASOUNBION eh alis oy otis Perugine ¢ os cave Ss Oe hk oie ke ae Lyons Museum. 71 
ASSUMPTION: ken cites eee Rubens ae cata ire eee Antwerp Cathedral. 75 
ASSUMPTION oases acela vctebe Andrea del Sarto ........0-- Palazzo Pitti, Florence. 76 
ABGUMETHON fo: aetna eres TUN ae ig a os ee Venice Academy. 77 
Arata, BURIAL OF ........ Girodet. de: Roussy . ..< oi» % same Louvre, Paris. 78 
Artima, MarcH OF........ Raphael... vce s csicies esse «mee Vatican, Rome. 79 
ADBORK cease eee Guercino sani oe wae ee Palazzo Ludovisi, Rome. 
ADROBAI OG: ao eo ren Gittdo Rent Gene vee Palazzo Rospigliosi, Rome. 82 
op A eres seit Titan ood en eee Louvre, Paris. 83 

LEGORY O85. css 
AQOHANAL Ae 4 eee Giovanni Bellini and Titian. Alnwick Castle, England. 87 
Baccuus anp ARIADNE..... TTION ec a eae ee National Gallery, London. 
Rae i ae f B. van der Helst..... National Museum, Amsterdam. 99 
BeLISARIOO, a ee ets Jaques Louis David ...... 4st Genes Louvre, Paris. 126 — 
Berna prt Traano 2. ss ose os Titan. oS Ss se eee Palazzo Pitti, Florence. 127 — 
Bertie FERONNIERE........ Leonardo da Vinct ...3. ae Louvre, Paris. 129 — 
Burnp-Man’s-Burr ........ Sir David Wilkie ..... Buckingham Palace, London. 167 
Bie Bayete chats Thomas Gainsborough ...Grosvenor House, London. 169 
Borracuos, Los.......... Velasquez. <0. :2 nce na 6 en Madrid Museum. 183 
Broken Pircoer ......... Jean Baptiste Greuze .........++s04 Louvre, Paris. 208 
Bruno, St., Dream or....Hustache Lesueur .......0.ccececees Louvre, Paris. 215 
Bruno, Str, Vision or ..... Guereino ..... 2. 422 cee Bologna Gallery. 216 
Broad a ee Louis Dad oo. oes bee Louvre, Paris. 
Cmsar, DEATH OF ........ Vincenzo Camuccini ......... Palazzo Reale, Naples. 227 
Ostais ‘Gare ae William Hogarth icine eee Marton Hall, England. 229 
CALOMNY<.. cece eres Alessandro Botticelli’. ©. ae eee Uffizi, Florence. 231 
Catvary, Prooxssion to ...Pierre Mignard.........0...+<4++)e0e Louvre, Paris. 
Castor ann: Pottux... ..... ..fubens . 24. Gc ee eee ee Munich Gallery. 254 
ae ay Ear } Fra Bartolommeo . <2 2.2. ee Louvre, Paris. 255 
Soe pe Ee } Correggio yo os at os tae 2 er Louvre, Paris. 256 
Catiuing, Consprracy oF... . Salvator Rosa...........00: Palazzo Pitti, Florence. 258. 
Cato, DEATH OF is.) bee Charlies Lebrun .>. 4.2.45 25 (ee Louvre, Paris. 258 
COMA OT rei ate ee ie Domenichino.. 0.0 i.e. eee Louvre, Paris. 261 
CROGHA ODIs tts cee Raphael... ese oss a cds sae ee Bologna Gallery. 262 
Crncr, BEATRICE ...../¢... attributed to Guido ...... Palazzo Barberini, Rome. 263 
CHALDEAN SAGES .......... GQUOrgione . gveicic cas « s'e te ne cee Vienna Museum. 267 
CHAPEAU DE PAILLE....... Rubens oe sic sot fete National Gallery, London. 268 
CHARITY SIP Mane area cer Andrea del Sarto... ..... ee Louvre, Paris. 270 
Ondains (lien cere a Anton van Dyck, oc. 00.. +. ee Louvre, Paris. 272 
Cuarwes I., Cumpren or...Anton van Dyck. .........0055 ee Windsor Castle. 273 
& 


66 


233: 7 


ee ee ee ee eae 


64. 
65. 
66. 
67. 
68. 
69. 


70. 
71. 
ie 


73. 


74, 


75. 


76. 


77. 


78. 


79. 
80. 
81. 
82. 
83. 
84. 
85. 
86. 
87. 
88. 
89. 
90. 
O91; 
92. 
93. 
94. 
95. 
96. 
97. 
98. 
99. 
100. 
101. 


102. 
103. 
104. 
105. 


OUTLINES OF PAINTINGS 


Oe OS DREUENE Rte a ah oe ohare Os ht eas Munich Gallery 
RR AT DLUMLBERG TiLION. 0.6 oc ce cc ene we wees Madrid Museum 
CuatuaM, DeaTH oF...... John Singleton Copley....National Gallery, London 
Curist, Baprism oF...... PRR CESCO ALDONET aloe vs oo ati ssel Sau » Bologna Gallery. 
Curist, Baptism OF...... Andrea del Verrocchio........: ’. Florence Academy. 
a See a : ans t Schoot of Leonardo da Vinci -National Gallery, London. 
Curist anD Evanae.ists.. fra Bartolommeo .......... Palazzo Pitti, Florence. 
Curist in House or Jatrus. Paolo Veronese ........ 00.000 eee Vienna Museum. 
ee ee Pan ! MPI Re sess eis wd css os OT WELD Park, punolk. 
RU. cS «3,0 
Curist Hratine rue Sick. Benjamin West.......... National Gallery, London. 
SL Ne aialala a haa { PA REOTE VAN YUCKY. 6/0" t ie fncein ecw eh ac ois Berlin Museum. 
iyo er 
oe oe Te } ET ed ep ers er) Louvre, Paris. 
POENG foes. las 
Goo AS PPAR ane OSS eo eee Louvre, Paris. 
Cortumaing, La.......... Bernardino Luint....... Hermitage, St. Petersburg. 
Conception, InmmacunaTE .. Murillo... 1... cect ee eee tees Louvre, Paris. 
Oonerprion, InmACunaTe .. Murillo... 2... ce cece cree sess Madrid Museum. 
0 ae aes Michelangelo da Caravaggio.......... Louvre, Paris. 
COGNCEET coi. 4s tec as OT OVONG. oes. \ccns « Bp Gol Fare Palazzo Pitti, Florence. 
Concert, Rustic......... PE OITION AR acess dave ios so pier ee este aha Louvre, Paris. 
Cit ce<) Paces. OTangch: oe. Ba 8s own ees Stadtkirche, Weimar. 
SC BURLOW gate nin ose’ ss Andrea Mantegna... sos 0sov esse cess Louvre, Paris. 
Curip, EDUCATION OF ..... BOETeOOIO shat mais y ere Mo National Gallery, London. 
Cymon AND IpHIGENIA..... Sir Joshua Reynolds...Buckingham Palace, London. 
(PO ee Ss ee COTreggio..:. a0 sities ees Palazzo Borghese, Rome. 
LOS PAT Wie eo ae reer er ae Vienna Museum. 
ky yn 2 ee Se a ae CPPDEL OOD, eva’ ibs Mis tengeeee hace ee Bargello, Florence. 
Danis, LENT OF......... Charles Lebrun: 0% <n sel ste eo or eee Louvre, Paris. 
Davip anp GoumaTH...... Guido Rent ...........- Hermitage, St. Petersburg. 
Deara on THE Pate Horse. Benjamin West .Pennsylvania Academy, Philadelphia. 
Death, TRIUMPH OF ...... Hienese SCHOO os. s0 5. ew ek os Campo Santo, Pisa. 
URS 0 ee IA CDIIS FE OUSSUbs coals ck a's Cees oa Louvre, Paris. 
Descent FROM THE Cross. Rubens........002 eer cere eens Antwerp Cathedral. 
Descent FROM THE Cross. Daniele da Volterra..... S. Trinita de’ Monti, Rome. 
Devonsutre, Ducuess or.. Thomas Gainesborough ..... Althorp Park, England. 
Devonsutre, Ducuzss or. .Sir Joshua Reynolds........ Althorp Park, England. 
Diana AND ACTHON...... PUNGE 2eo aan ante et Bridgewater House, London. 
Diana AND CALLISTO...... PUEAT L, oe ina, Cees Bridgewater House, London. 
eee ©At ae Tehri eee ack cic ako wie teed 1a votes Louvre, Paris 
PO mTTe... +... ss | 
Dimgo, Sr., or AtcatA....Murillo.........+55 Duc de Pozzo di Borgo, Paris. 
Donna GRAVIDA...+..4--- Attributed to Raphael....... Palazzo Pitti, Florence. 
Donna VELATA.....,.. ++ Attributed to Raphael....... Palazzo Pitti, Florence. 
Dropstcan Woman ....... Gerard Dow....... HEE Morente tes De Louvre, Paris. 


PAGE 


. 274 
. 275 
. 277 


281 
282 


285 


286 
289 


290 
292 
293 


294 


299 
316 
319 
320 
322 
322 
323 
354 
355 
358 
3d61 
367 
367 
oT1L 
373 
376 
378 
379 
390 
394 
395 
400 
401 
402 
403 


. 404 


407 
418 
419 
426 


PAGE , : PAGE 
1. Achenbach, Andreas .........-- . 6136. Bellini, Gentilen> ieee Ses aL 
Oo AdamM ye UTANZ ccs ck ea eee eee 9|37. Bellini, Giovanni.......... Salhi tbs 
3: Albani; Francesco... - 60... a 6 20 | 38. Benczur, Gyulac ls seca ee eee 137 
4. Albertinelli, Mariotto........... . 21/39. Bendemann, Eduard Julius Fried- 
5. Aldegrever, Heinrich............ 22 Tich....s.s00 04s eu een 137 
GsAONSOLieG, ooo ole eee cet 25/40. Benjamin-Constant, Jean Joseph.. 139 
PATA DAN WLAN 5 hoe ately peas ate 2641. Berchem, Claas Pietersz..... oe eas 
S,Allori, Alessandro. 20.0%. «snes et we 28 |.42. Bernier, Camille... .2. 320 eee 148 
OA lion, ,Oniatofano 72.056. omens 28 | 43. Bierstadt, Albert... os eee 157 
10. Allston, Washington ............ 29\44. Bigio, Francia: ......e.sssas 157 
11. Alma-Tadema, Laurenz.......... 29/45. Blake, William. |<. ccc seeeeen 162 | 
12. Amerling, Friedrich... 0... os 2s 36 |46. Blanchard, Jacques.............- 164 
13. Anguisciola, Sofonisba........... 44|47. Bloemaert, Abraham......... eae 
14,.Asselyn, Jan ya. s sos oc iteieewels 73/48. Bokelmann, Ludwig Christian 
LOUIS. . (i's ate teen 174 
LD DACHICOLO, TL co. o heat. vere 88 | 49. Bol, Ferdinand 7225.5 175 
16. Bachelier, Jean Jacques.......... 89| 50. Bonheur, Marie Rosa............ L177 
17. Backhuysen, Ludolf............. 90/51. Bonington, Richard Parkes....... 178 
18. Bagnacavallo, Bartolommeo da.... 92 52. Bonnat, Léon Joseph Florentin... 179 
19. Balen, Hendrik van............. 95 | 53. Bordone, Paris?) 7... eee 181 
20. Barocei, Federigo,........ «2 eeu 10254: Both, Jan: . 0s 185 
21. Barrias, Félix Joseph...........- 103 55. Botticelli, Alessandro............ 186 
22. Barry, James, oo. ess oe ee ee 103 | 56. Boucher, Francois)... 332s 186 
23:° Barth; Perdinand »3- 5 ia.a renee 104/57. Boughton, George Henry........ 188 - 
24, Bartolommeo, Fra............5.. 105 | 58, Bouguereau, William Adolphe.... 189 
25. Bassano, Francesco............+- 107 59. Boulanger, Gustave Rodolphe Clar- 
26. ‘Bassano, Jacopo... ser ee 107 OD.CO. .., «sic a oes else 190 
27. Bagsario, aeandro fen. ta eee . 108|60. Boullongue, Bon) {).. 2 191 
28. Bastien-Lepage, Jules............ 109 61. Boullongue, Louis de...........- 191 
29. Battoni, Pompeo Girolamo....... 110|62. Bourdon, Sebastien............. 192 
30. Baudry, Paul Jacques Aimée..... 111|63. Bramer, Leonard’)... .pseee 196 
OL. beard, Wilhami tence eee 115 | 64, Brandt, Jozef: oe. s ene 197 
32. Beccafumi, Domenico............ 117/65. Brée, Mattheus Ignatius van...... 200 
33. Becker, Kari Ludwig Friedrich... 119} 66. Breenbergh, Bartholomeus....... 200 
34. Bega, Cornelis Pietersz.......... 12267. Bréton, Emile Adelard........... 202 
Sha Beves, Karl. cos vans, ieee 123 |68. Bréton, Jules Adolphe....... aureus 


PORTRAITS OF PAINTERS. 


(DRAWN BY JACQUES REICH.) 


PORTRAITS OF PAINTERS 


PAGE 


69. Bridgman, Frederick Arthur.... 205 
Pets GUWOL.w sg elek ace e's es oe os 205 
Phe telete Wer CM ea re 206 
PeErOnzAO, BONOIOs... 2... 208 
fo DrOonwer, AOTIBED....i..0.:...- 209 
Pleteshel dane. kas s es. - 912 
75. Brueghel, Peeter, the elder...... 213 
bert, ourcemair, Hans, .0.. 66s... 220 
77. Burgess, John Bagnold......... 222 
78. Burne-Jones, Edward .......... 222 
19, Buseon, Charles. .............. 223 
BU eee VERO oe oa eee ele ee 224 
81. Butler, Elizabeth Thompson..... 224 
82. Cabanel, Alexandre............. 225 
83. Calabrese, Il Cavaliere.......... 228 
84. Calame, Alexandre............. 229 
85. Calderon, Philip Hermogenes.... 230 
86. Callcott, Sir Augustus Wall...... 230 
87. Cambiaso, cas. 2.5... 005- 234 
88. Camphausen, Wilhelm..... ee 235 
BR AMAIA ce cote ee ae wees 238 
DMC EAIONMO es ies es eee 239 
AD ROAD et CVE Uo Sga 239 
92. Caravaggio, Michelangelo da..... 241 
93. Caravaggio, Polidoro da......... 242 
OU BLOB IUTEe yas ces te ee 244 
95. Carpaccio, Vittore........4..... 245 
96. Carracci, Agostino.............. 246 
97. Carracci, Annibale............. 246 
98. Carracci, Lodovico............. 247 
99. Carrefio de Miranda, Don Juan.. 248 
100. Carriera, Rosalba.............. 248 
101. Carstens, Asmus Jacob...... es eae 
102. Castello, Bernardo.............. 252 
103. Castiglione, Giovanni Benedetto. 253 
104. Cerezo, Matteo................ 264 
105. Cesari, Giuseppe...... an oases 264 
106. Cespedes, Pablo de............. 265 
107. Champaigne, Philippe de........ 267 
108. Chardin, Jean Baptiste Siméon .. 269 
109. Charlet, Nicolas Toussaint...... 275 
110. Chase, William Merritt......... 276 
111. Chodoviecki, Daniel Nicolaus.... 280 
112. Church, Frederic Edwin........ 295 
118. Cignani, Carlo................. 296 
114, Cima da Conegliano............ 297 


115. Cimabue, Giovanni,............ 298 
PIG Claude Dorriin ws. os een ks 302 
LT Cloucetdean mere fo. ies 307 
Piss) Ooelio. Clandioe ots. ered oe. 309 
Dive. Copies, lisoniie 0 siete casteake 311 
BO COleARCOree na! se. % wlisteursls a, v= 312 
eA O16. HOINOB rare acy ce Coe are ek eas 312 
DE OC OlQ ONICHA re eee ae soe en eae 313 
P25 Collings s.Villistiy ac. /cs eee. 314 
124. Compte-Calix, Frangois Claudius. 317 
15:7 Constable; Johny. .ote ee a. 325 
126. Cooper, Thomas Sidney......... 328 
127. Copley, John Singleton......... 329 
128. Coques; Gonzales. 2.00.05... « 330 
1292) Cormotre Orn, acts ec eevee: 331 
130. Corneliszen, Cornelis........... 333 
T3i,° Cornelius, Peter: von... 3 oa.6.% 333 
132. Corot, Jean Baptiste Camille..... 335 
133. Correggio ..... BEE Wiehe SE 336 
134 Costas Gorenzoniee ue ee 338 
135. Courbet, Gustave... . 6c... 0. wae 341 
| 136. Courtois, Jacques.............. 342 
TS 71 Gousin wWeine owce eae eae ee 343 
138s Coutire; LHOmaAs ars eee 343 
139. Coxcyen, Michiel van,.......... 344 
140. Coypel, Antoine..............- 345 
141. Coypel, Charles Antoine......... 345 
149.;,Coypel Noel ie. hcee saw ene sae 345 
143. Craesbecke, Joost van.......... 345 
144. Craeyer, Caspar de ............ 346 
146, Cranach, lucas nf ks oe 346 
146)¢ Crane, Walterv.i 2... canon ieee 348 
TAT Credis arenzo Sion aay os toks ite 349 
148. Orespi, Daniele. 0.0.2.5. su. 349 
149." Oroftes: Frnesiosg <o. iga ea lene 352 
150. Crowe; Wyre 2% .ais/en sisson as 354 
Lb Ls Cuyp; Asibert ys c6nces npn ais oie ooo os 360 
152. Danhauser, Josef........0e50005 369 
153. Daubigny, Charles Frangois..... 374 
154. David, Jacques Louis.......... 376 
155. Davis, Henry William Banks..... 377 
156. Decamps, Alexander Gabriel.... 381 
157. Defregger, Franz von.......... 383 
158. Delacroix, Ferdinand Victor Eu- 
EVIE «$s aus a at ears were vate 386 
¥50.~ Delaroche, «Paul. 7. aees ieee 387 


160. 
161. 
162. 
163. 
164. 
165. 


166. 
167. 
168. 
169. 
170. 


PORTRAITS OF PAINTERS 


PAGE 
Desportes, Alexander Frangois.. 397 
Detaille, Jean Baptiste Edouard. 398 


Diaz de la Pejia, Narciso Virgilio 404 
Dicksee, Frank: 9. oy ee. 405 
Diepenbeeck, Abraham van...... 408 
Dietrich, Christian William Er- 
Nest. BoP Gus eee ey eae 409 
Thetz; “Feodor. 24.3. yen ee 410 
Dobson, William Charles Thomas 414 
Does, Jacob van der........-.0- 415 
Dolce Carlos jee aes 415 
Domenichine ss 2 os. oy eens 416 


171. 
172. 
173. 
174. 
175. 
176. 
177. 
178. 
179. 
180. 
181. 
182. 


Doré, Gustave Paul............ 419 
Doasi, Giovanni, #2 eee 422 
Dou,. Gerard. :7..he tee eae 422 
Doyen, Gabriel Frangois........ 424 
Drouais, Germain Jean......... 427 
Dubufe, Edouard. 9) eee 430 
Duchatel, | frana 3.22 431 
Duez, Ernest. Ange............- 433 
Dupré, Jules. 2. ..; sss aera 435 
Durand, Asher Brown........... 436 
Direr, Albrecht; 423 437 
Dyck, Anton van..... sca egaetaneteree 441 


MONOGRAMS AND SIGNATURES. 


PAGE 
1. Abbate, Niccolo dell’............ 2 
PPAGHEIP POMAND 2. ...-000065 05008 6 
3. Achenbach, Andreas.........-.++ 7 
4, Achenbach, Oswald...........--+ 7 
Bb Adam, Albrecht. .. 2. .6..0.. 5. ees 9 
G6. Adam, Heimrich..............-- 9 
7. Adam, Jean Victor...........--- 10 
8. Adan, Louis Emile...........-. case Lak 
9, Aelst, Willem van..............: 14 
10. Aertszen, Pieter ..........-+..-- 14 
11. Ainmiller, Max Emanuel......... 19 
12. Albani, Francesco........-..--+-- 21 
13. Aldegrever, Heinrich..........-- 22 
14, Alfani, Domenico.............++> 24 
UR CUES Lo ie 25 
16. Allori, Alessandro.............-- 28 
17. Altdorfer, Albrecht.............- 32 
18. Alunno, Niccolé..............-- 33 
19. Amalteo, Pomponio..........--- 34 
20. Anselmi, Michelangelo.........-- 49 
91. Ansiaux, Jean Joseph LEléonore 
ANGUS. tees mene este: 50 
92. Appiani, Andrea..........---+6> 62 
93. Arellano, Juan de...........-+-- 65 
94. Arthois, Jacques d’..........---- 70 
Do ener, LOUIS. ee ee ee ee 72 
96. Asper, Hans.........---+-seeee- 72 
27. Aspertini, Amico.............++- 72 
98. Asselyn, Jan ........---.-eeeeee 73 
29. Aubert, Ernest Jean.........---- 80 
30. Aubry, Etienne........-.--++--- 80 
31. Avercamp, Hendrik ........----- 85 
32, Baade, Knud...........-++-+++: 86 
33. Bach, Alois........2---+s+ee2er8 88 
34. Bachelier, Jean Jacques........- 89 
35. Backhuysen, Ludolf.... ....-.-- 90 


PAGE, 

36. Bacler d’Albe, Louis Albert Guil- 
TALI sacs ok ee eee 90 
Se Daldunes ELAUs tas erates eee 95. 
38. Balen, Hendrick van............ 95 
39°” DalesiPas ANUONIO.. wise ss steno ain 96. 
40. Barbari, Jacopo de’............. 99 
Al Basaite Marco \ 2... hc. 2 le as tans 106 
42. Bassen, Bartholomeus van........ 108 
43, Battoni, Pompeo Girolamo ...... 110: 
44, Becker, Georges............+-+. 119 
45. Beerstraaten, Jan............2-- 122 
46. Bega, Cornelis Pietersz.......... 123 
AT. Begun; ati a case ves oe mennae 123. 
48. Begeijn, Abraham Cornelisz...... 124 
49. Beham, Hans Sebald............ 125 
50. Bellini;.Giovannt* (2.00 ye ee 132 
51-4 Ballotto, Bernardo ®; .2...s0e6s 5. 133 
52. Bellucci, Antonio............++- 134. 
59.7. Benner, Ca. oon. «ee pie tae ale 139 
54, Berchem, Claas Pietersz ......... 143 
55. Berck-Heyde, Job .............- 144. 
56. Berruguete, Alonso ...........-. 149 
BT. Bertrand; Jamies... -5.2..65-% <5 152 
58. Beschey, Balthasar...........-.- 152 
59. Bigio, Francia..........-+-++++ 158. 
60. Billet. Pierre... oat; as ite be 158. 
61. Biset, Karel Emanuel........... 160 
62. Bissolo, Pietro Francesco....... . 161 
63. Bles; Herri de... 2... 0s esses ne 166 
64. Bloemaert, Abraham ............ 168 
65. Bloemen, Pieter van..........-. 168. 
66. Blondeel, Lancelot............-- 169 
67. Bockhorst, Jan van.........-++-s 170: 
68. Boenisch, Gustav Adolf.......... 172 
69. Boeyermans, Theodor.......-...- 172 
70. Boilly, Louis Léopold........... 173. 
71. Bol, Ferdinand........+-s+eeees 175 


MONOGRAMS AND SIGNATURES 


PAGE 
12. Boll anemia ec clare forte sy 175 
73. Bonnat, Léon Joseph Florentin.. 179 
74. Boonen, Arnold van............ 181 
1b Ord ORG: CPArtE ss 6s epee 181 
76. Borgognone, Ambrogio......... 182 
77. Borras, Fray Nicholas.......... 183 
78. Bosch, Hieronymus............ 184 
79. Bossche, Balthasar van den..... 184 
SO Both, +Andries 244 \aw pes oo ee 185 
BU Bothadanes ccs ets rr rare er ae 185 
82. Botticelli, Alessandro........... 186 
$3.) Boucher, rancois: .. 2. sss 187 
84. Bouguereau, William Adolphe... 189 
85. Boulanger, Gustave Rodolphe 
Clarence... veicno ieee een 190 
86. Bourdon, Sebastien............ 192 
87. Bourgeois, Léon Pierre Urbain.. 192 
88. Braekeleer, Ferdinandus de..... 195 
8); Bramantino <o)5, si < aes 196 
90. Bramer, Leonard............-- 196 
91. Bredael, Jan Frans van......... 199 
92. Brée, Mattheus Ignatius van.... 200 
93. Breenbergh, Bartholomeus...... 200 
94. Brekelenkam, Quiryn........... 201 
95. Breton, Jules Adolphe.......... 203 
OG, Breu, J0re. 5. ane cer Gee 203 
97; Bril; Pauwel, 3.25 cee ee 206 
98: Brion, Guatave 4 2. oo eee 206 
99; Bronzino, Aconolo... sacha 209 
100. Brouwer, Adriaen.............. 209 
101. Brueghel, Peeter, younger...... 214 
102. Bugiardini, Giuliano.......,... 219 
168: -Burckmair,: Hans=. 0.000 oe 220 
104. Butin, Olysse... 5... wan ese seas 224 
105. Cabanel, Alexandre............ 225 
106. Caghari,.Carloc a oocesi 0 meee 228 
107, Cagnacci, Guido y, a2. oy eee 228 
108. Callcott, Sir Augustus Wall..... 231 
109. Cambiaso,” Luca dee eee 234 
110. Camphuysen, Govert........... 236 
dit. Campi, Antoniogas 2.2 ee 236 
21% Cano, Alonso. yee ee ee ee 239 
113. Capelle, Jan van der........... 240 
114. Caravaggio, Polidoro da........ 242 
115. Carducho, Vincenzo............ 243 
116. Carloni, Giambattista........... 243 


PAGE 
117. Carolus-Durany, 733 oe ee 244 
118, Carpaccio, Vittores. 3. 57) 245 
119. Carracci, Agostinoy see 246 
120. Carracci, Annibaleyo.c.45.5 eee 247 
121. Carracci, Lodovicors. 2 ee 248 
122. Carreno de Miranda, Don Juan.. 248 
123. Carriers, Rosdibay-....2.e eee 248 
124. Casanova, Francesco..... 4 ees 250 
125. Castello, Bernardo............. 252 
126. Castiglione, Giovanni Benedetto. 25 
127. Catena, VincenzeG..) 2. 254 
128. Caulitz, Peter....... Pee tee 259 
129. Cavedone, Giacomo...........- 260 
130. Cazes, Pierre Jacques.......... 260 
181. Cerezo, Mattes <2) cee 264 
132. Cesari, Giuseppe. J. os. eeee oe 265 
133. Cespedes, Pablo de........ bevy 20U 
134. Champaigne, Philippe de....... 267 
135. Chaplin, Charles Joshua........ 269 
136. Chardin, Jean Baptiste Siméon.. 269 


137. Chodoviecki, Daniel Nicolaus.... 280 
138. Cignani, Carloc ) oy sy. s eee 297 
139. Cima da Conegliano........... 298 
140. Clairin, Georges Jules Victor.... 301 
141. Codde, Pister; 2.955 2.0 eee 309 
142. Coello, Claudia; . 92) ee 310 
143. Cogels, Joseph................ 310 
144. Collantes, Francisco............ 313 
145. Comerre, Léon Frangois........ 317 
146. Compte-Calix, Frangois Claudius. 318 
147. Conca, Sebastiano s..ee eee ee 318 
148. Congnet, Gillis yaa 324 
149. Coninck, David de........ fe Tea 324 
150. Contarini, Giovanniy. cee 327 
151. Cooper, Abraham.............4. 328 
152. Cormon, Fernand:............. 331 
153.-Corneille, Michel. > 33. eee 332 
154. Corneliszen, Cornelis........... 333 
155. Correggid.)....0 =) se one 336 
156.. Cossiers, Jan. .. su. 5 dee 338 
157. Costa, Lorenzo. ..... eee 339 
158. Cosway, Richard. {ive cs ee 339 
159. Cot, Pierre Auguste............ 339 
160. Courtat, Louis 25.2 ee 342 
161. Courtois,. Gustave... cee 342 
162. Cousin, Jeans: sie 343 
163. Coxcyen, Michiel van........... 344 


Se eee 


—— - 
~~. a 


164. 
165. 
166. 
167. 
168. 
169. 
170. 
ie le 
172. 
173. 
174. 
175. 
176. 


177. 
178. 
179. 
180. 
181. 
182. 
183. 
184. 


185. 
186. 
187, 


MONOGRAMS AND 


PAGE 
Coypel, Charles Antoine........ 345 
Tis So be 345 
Craesbecke, Joost van.......... 346 
Craeyer, Caspar de............. 346 
RUPRMON, MICA gc ksce ss a sc os oe 347 
Credit lorenzo dis)... ss... 349 
Crespi, Daniele................ 349 
Crespi, Giovanni Battista....... 350 
eg Peete so. ce os oc es 351 
Cuylenborch, Abraham van...... 360 
Cuyp, Aelbert........ ea hg wee 360 
Cuyp, Jacob Gerritsz........... 361 
Ozermak, Jarosiav.............. 362 
ARCS A (Cs Ea 363 
Dael, Jan Frans van............ 363 
Danloux, Henri Pierre.......... 370 
Dannat, William T............. 370 
David, Jacques Louis........... O17 
eeaisne, FONYi.. ...........5- 381 
Decker, Cornelis Gerritsz....... 382 
Delacroix, Ferdinand Victor Eu- 
Panes tk ue = oe 386 
Delaunay, Jules Elie........... 388 
Delobbe, Francois Alfred........ 389 
Denner, Balthasar............. 391 


188. 
189. 
190. 
191. 


192. 
193. 
194. 
195. 
196. 
197. 
198. 
199. 
200. 
201. 
202. 
203. 
204. 
205. 
206. 
207. 
208. 
209. 
210. 
911. 
212, 


SIGNATURES 


Deshays, Jean Baptiste......... 


Desportes, Alexandre Francois... 398 
Detaille, Jean Baptiste Edouard.. 398 
Devéria, Eugéne Francois Marie 
WOM kieran wit iels ahs clots ste 399 
Diepenbeeck, Abraham van..... 408 
Dietterlein, Wendel............ 410 
Does, Simon van der........... 415 
Dole Carlo cee aia whi ee ce 416 
Dome OiOvanni eta, eee 422, 
Dour Gerard Or 8h nent ih Set 423 
Douven, Jan Frans van......... 424. 
Doyen, Gabriel Francois........ 424 
Dying, Martine, 200. seer 425 
Drooch-Sloot, Joost Cornelisz... -426 
Dubbels, Hendriks. 04. . e. 428 
Dubois, Ambroise............. 428 
Diebatebe rans." scan sce 431 
Ducreux, Josephi oes 432 
Dughet, Gaspard.............. 433 
Dupre, Pen ays eataetian stcee as 435 
Dupressoir, Joseph Frangois..... 435 
Direr, “Albrecht: ys. aioe os 438 
Dugart, Cornelisss 7c ace ee ee 438 
Dyck ARtOUAvaAn easae nee 443 
Dyak. Philip: van. tccsp nse es 448 


BIBLIOGRAPHY. 


VOLUMES I.—IV. 


CADEMY. London. 
Achilles Tatius. Jacobs’ edition. 
Ackermann, W. A. Der Portraitmaler Sir God- 
frey Kneller, im Verhiltniss zur Kunst- 


bildung seiner Zeit dargestellt. Liibeck, 
1845. 

Adeline, Jules. Hippolyte Bellangé et son 
ceuvre. Paris, 1880. 

Affo, Ireneo. Vita di Parmigianino. Parma, 
1784. 


Agincourt, Jean Baptiste Louis Georges Seroux 
d’. Histoire de l’art par les monumens, 
etc. Paris, 1823. English translation, 
London, 1847. 

Allgemeine deutsche Biographie. 

- 1875-1885. 

Allgemeine Kunst Chronik. T[llustrirte Zeit- 
schrift fiir Kunst, ete. Herausgeber Dr. 
Wilhelm Lauser. Vienna. 

Allgemeine Zeitung. Munich, formerly Augs- 
burg. 

Allihn, Max. Diirer Studien. Leipsic, 1871. 

Alten, Friedrich von. Der Maler Asmus Jacob 
Carstens. Schleswig, 1865. 

Alten, Friedrich von. Aus Tischbeins Leben 
und Briefwechsel. Leipsic, 1872. 

Amand-Durand. Cé£uvre de Rembrandt. Paris, 
1880. 

Amand-Durand and Alfred Sensier. Etudes et 
croquis de Th. Rousseau. Paris, 1876. 

American Architect. Boston. 

American Art Review. Boston. 

Ammianus Marcellinus. History. 

Amoretti, Carlo. Memorie storiche di Leon- 
ardo da Vinci. 1804. 

Amorini, Antonio Bolognini, Marchese. 
di Francesco Albani. Bologna, 1837. 

Amorini, Antonio Bolognini, Marchese. Vita 
del celebre pittore Francesco Primaticcio. 
Bologna, 1838. 


Leipsic, 


Vita 


Amorini, Antonio Bolognini, Marchese. Vita 
di Francesco Barbieri. Bologna, 1839. 
Amory, Martha Babcock. Life of John Single- 

ton Copley. Boston, 1882. 

Andresen, Andreas. Die deutschen Maler- 
Radirer des neunzehnten Jahrhunderts. 
Leipsic, 1872. 

Angerstein Gallery. See Young. 

Annalen des historischen Vereins fir den 
Niederrhein. Cologne. 

Annales du Musée. See Landon. 

L’Anonimo Morelli. Bassano, 1800. 

Anthology, Greek. 

Appleton’s Journal. New York. 

Archeologia. London. 

Archief voor nederlandsche Kunstgeschiedenis. 
Rotterdam, bijeengebracht door Fr. D. O. 
Obreen, 1877-83. 

Archives de l’art francais. 

Archives des arts, sciences, et lettres. 

Archivio della Societi Romana di 
Patria. 

Aren, F. M., Arthur Grottger. 
niscenz. Vienna, 1878. 
Argenville, Antoine Joseph Dezallier d’. Ab- 

régé de la vie des plus fameux peintres. 

Paris, 1762. 
Aristophanes. Acharnanians. 
Armengaud. La Russie. 


Paris, 1851, seq. 
Ghent. 
Storia 


Eine Remi- 


L’Art, Revue hebdomadaire illustrée. Paris. , 
Art and Letters. London. 
L’Artiste, Revue du XIXme siécle. Paris. 


Art Journal. London. 

Art Treasures of America. Philadelphia, 1878. 

Art Union. New York. 

Athenzeum. London. 

Athenagoras. Apology for the Christians. 
Edition Dechair. Oxford, 1706. 

Atkinson, J. Beavington. Art Tour to Nor: 
thern Capitals. London, 1873, 


x1x 


Bl Bb OG Ange a 


Atkinson, J. Beavington. Overbeck. ‘London, 
1882. 

Atlantic Monthly Magazine. 

Audubon, Mrs. Life and Journals of J. J. 
Audubon. New York, 1869. 

Aumiiller, E. Les petits maitres allemands. 
Munich, 1881. 

Aurelius Victor. Epitome de Cesaribus. — 


Boston. 


AILLIERE, HENRI. 
Paris, 1872. 
Bakhuizen van den Brink, R. C. Les Rubens 
a Siegen. The Hague, 1861. 
Baldinucei, Filippo. Opere. Milan, 1808-12. 
Ballantyne, James. Life of David Roberts. 
London, 1866. 


Henri Regnault. 


Bartsch, Adam. Le peintre-graveur. Vienna, 
1803. 
Baruffaldi, Girolamo. Ariosto. ‘Terrara, 1807. 


Baruffaldi, G. Vite de’ pittori Ferraresi. Fer- 
rara, 1844. 

Batte, Léon. Le Raphael deM. Morris Moore. 
Paris, 1859. 

Bayersdorfer, F. Carl Rofttmann. 
1873. 

Beechey, Henry William. Works of Sir Joshua 
Reynolds. London, 1852. 

Bellier de la Chavignerie, Emile, continué 
par Louis Auvray. Dictionnaire général 
des artistes de l’école francaise. Paris, 
1882. 

Bellier de la Chavignerie, Emile. Recherches 
historiques sur Lantara. Paris, 1852. 

Bemrose, A. Life of Joseph Wright. 


Munich, 


Benci. Lettere sul Casentino. Florence, 
1821. 

Benjamin, S. G. W. Contemporary Art in 
Europe. New York, 1877. 

Bentley’s Magazine. London. 


Beretta, G. Opere diAndrea Appiani. Milan, 
1848. 

Bergmann, Werner. Tizian; Bilder aus seinem 
Leben und seiner Zeit. Hanover, 1865. 

Bermudez, Cean. Carta. Cadiz, 1806. 

Bermudez, Cean. Diccionario historico de los 
mas ilustres profesores de las bellas artes 
en Espafia. Madrid, 1860. 

Bernasconi. Studj sopra la storia della pittura 
italiana dei secoli XIV. e XV. e della scuola 
pitt. veronese. Verona, 1864. 

Bertholon, J., and Lhote, C. Horace Vernet a 
Versailles, au Luxembourg et au Louvre. 
Paris, 1863. 


Bertolotti. Francesco Cenci e la sua famiglia. 

Beulé, Ernest. Eloge de Horace Vernet. 
Paris, 1863. 

Bevilacqua, Ippolito dell’ Oratorio. Memoire 
della vita di Gio. Bettino Cignaroli. Ver- 
ona, 1771. 

Bianconi, G. L. Elogio storico del Cavaliere 
R. Mengs. Milan, 1780. 

Bigot, Charles. Raphael et Ja Farnésine. 
Paris, 1884. ' 
Biographie nationale de Belgique. Brussels, 
1880-85. 
Blaas, Carl. Selbstbiographie. 
Black, Charles Christopher. 

London, 1875. 

Blackwood’s Magazine. London. 

Blanc, Charles. Histoire des peintres de 
toutes les écoles. Paris, 1865-77. 


Vienna, 1876. 
Michael Angelo. 


Blanc, Charles. Ingres et son ceuvre. Paris, 
1870. | 

Blanc, Charles. Les artistes de mon temps. 
Paris, 1876. 


L’@uvre de Rembrandt dé- 
crit et commenté par. Paris, 1880. 

Blanckarts, Moritz. Diisseldorfer Kunstler. — 
Nekrologe aus den letzten zehn Jahren. 
Stuttgart, 1877. = 

Bode, Wilhelm. Frans Hals und seine Schule. 
Leipsic, 1871. 

Bode, Wilhelm. Adriaan Van Ostade als 
Zeichner und Maler. Vienna, 1879. 

Bode, Wilhelm. Rembrandt’s erste Thitig- 
keit in seiner Vaterstadt Leiden. Vienna, 
1881. 

Bode, Wilhelm. Studien zur Geschichte der 
hollindischen Malerei. Brunswick, 1883. 

Bonaini, Francesco. Memorie inedite intorno 
allavita, etc.,diFrancescoTraini. Pisa, 1846. 

Boschini, Marco. Carta del Navegar. Venice, 
1660. : 

Bossi, G. Del Cenacolo di Leonardo da Vinci. 
Milan, 1810. 

Bottari, Giovanni Gaetano. 


Blanc, Charles. 


Raccolta. Milan, 


1822-25. 
Bouchitté, Henri. Ie Poussin, sa vie et son 
ceuvre. Paris, 1858. 


Boutelont, C. Estudio de S, Antonio de Mu- — 
rillo. Seville, 1875. 

Boydell, John and Josiah. The Original Works 
of William Hogarth. London, 1790. 


Bray, Mrs. Life of Thomas Stothard. Lon-— 
don, 1851. 
Brockhaus. Conversations Lexikon. Leipsic, — 


1882. 


BeBe OG IAP Wy 


Brock-Arnold, George M. John Constable. 
London, 1881. 

Brock-Arnold, George M. Thomas Gainsbor- 
ough. London, 1881. 

Brunn, Heinrich. Geschichte der griechischen 
Kinstler. Brunswick, 1853-59. 

Bryan’s Dictionary of Painters and Engravers, 
edited by Robert Edmund Graves. Lon- 
don, 1885-86. 

Buchanan, W. Memoirs of Painting. Lon- 
don, 1824. 

Buonfatti. _Memorie storiche di 
Nelli. Gubbio, 1843. 

Burckhardt, Jacob. Der Cicerone. 
1879. 

Burckhardt, Jacob. Art Guide to Painting in 
Italy. London, 1883. 

Burckhardt, Jacob. I celebri freschi di Gas- 
paro Possino. 

Burger, W. (Théophile Thoré). 
de la Hollande. Paris, 1858. 

Burger, W. (Théophile Thoré). Trésors d’art 
en Angleterre. Brussels, 1860. 

Burnet, John. Turner and his Works. 
don, 1852. 

Burty, Philippe. 
Paris, 1877. 

Burty, Philippe. Salon de 1883. Paris. 

Busscher, Edmond de. Recherches sur les 
peintres Gantois. Ghent, 1859. 

Bygone Beauties. Engraved by Wilner after 
Hoppner. London, 1883. 


Ottaviano 


Leipsic, 


Les Musées 


Lon- 


Maitres et petits maitres. 


ABINET DE CROZAT. See Crozat. 
Caine, T. Hall. Recollections of Dante 
Gabriel Rossetti. London, 1882. 

Calvert, Geo. H. Life of Rubens. 
1876. 

Calvi, Girolamo Luigi. Dei professori di belle 
arti in Milano. Milan, 1859. 

Calvi, Jacopo Alessandro. Notizia della vita 
e delle opere di Gio. Francesco Barbieri. 
Bologna, 1808. 

Calvi, Jacopo Alessandro. Memorie della vita 
ed opere di Francesco Raibolini. Bologna, 
1842. 

Campori, Giuseppe, Marchese. Gli artisti 
italiani e stranieri negli stati Estensi. 
Modena, 1855. 

Campori, Giuseppe, Marchese. 
cataloghi. Modena, 1870. 

Campori, Giuseppe, Marchese. 
Estensi. 


Boston, 


Raccolta di 


Tiziano e gli 


Canonge, Jules. Pradier et Ary Scheffer. Paris, 
1858. 

Cassius, Dion. History. 

Carr, J. Comyns. Essays in Art. London, 1879. 

Carr, J. Comyns. Modern Landscape. lLon- 
don, 1882. 

Carr, J. Comyns. Notes on Sir J. HE. Millais’s 
Works at Grosvenor Gallery. London, 
1885. | 

Cartier, Etienne. Vie de Fra Angelico. Paris, 
1857. English translation. London, 1865. 

Carton, Charles L. Les trois fréres Van Eyck, 
Jean Hemling, etc. Bruges, 1848. 

Catalogo istorico di pittori e scultori ferraresi. 
Ferrara, 1782. 

Catalogue du Musée d’Anvers. Antwerp, 1874. 

Cazalis, Henri. Henri Regnault. Paris, 1872. 

Cellier, Louis. Antoine Watteau. Paris, 1867. 

Century Magazine. New York. 

Chaumelin, Marius. Art contemporain. 

Chaumelin, Marius. Decamps, sa vie, ete. 
Marseilles, 1861. 

Chesneau, Ernest. Peinture francaise au 
XTXme siécle. Chefs d’école. Paris, 1883. 

Christliches Kunstblatt. Stuttgart. 

Chronique des arts et de la curiosité. Supplé- 
ment 4 la Gazette des Beaux Arts. Paris. 

Cibo. Niccol6 Alunno e la scuola umbra. 
Rome, 1872. 

Citadella, Luigi Napoleone. Documenti, etc., 
riguardante la storia artistica ferrarese. 
Ferrara, 1868. 

Citadella, Luigi Napoleone. 
rara. 

Citadella, Luigi Napoleone. Memorie di Ben- 
venuto Tisi. Ferrara, 1872. 

Citadella, Luigi Napoleone. Ricordi e docu- 


Notizie di Fer- 


menti intorno alla vita di Cosimo Tura cetto 
Cosme. Ferrara, 1866. 

Claretie, Jules. Peintres et sculpteurs con- 
temporains. Paris, 1874. 

Claretie, Jules. Peintres et sculpteurs con- 
temporains. Premiere série. Paris, 1882. 


Seconde série. Paris, 1884. 
Clemens, Alexandrinus. Stromata. 
Clément, Charles. Michel Ange, L. da Vinci, 
' Raphael.. Paris, 1861. Translation by 
Louisa Corkran. London, 1880. 
Clément, Charles. Prudhon, sa vie, ses ceuvres 
et sa correspondance. Paris, 1872. 
Clément, Charles. Etudes. Paris, 1865. 
Colburn’s New Monthly Magazine. London. 
Collins, Wilkie. Memoirs of William Collins. 
London, 1848. 


BLB LALO GAA Laas 


Conches, F. de. See Feuillet. 
Contemporary Review. London. 
Cook, Dutton. Art in England. 
1869. 
Corpus Inscriptionum Greecorum. 
Cotta’s Kunstblatt. Stuttgart. 
Cotton, William. Sir Joshua Reynolds and his 
Works. London, 1856. 
Courrier de l’Art. Chronique hebdomadaire 
des ateliers, etc. Paris and London. 
Cousin, Jean. Tombeau de Watteau. 
1865. 
Coxe, William. Lives of Correggio and Par- 
migiano. London, 1823. 
Crowe, J. A. See Kugler. . 
Crowe, J. A., and G. B. Cavalcaselle. His- 
tory of Painting in Italy. London, 1864. 
Crowe, J. A., and G. B. Cavalcaselle. History 
of Painting in North Italy. London, 1871. 
Crowe, J. A., and G. B. Cavalcaselle. Early 
Flemish Painters. London, 1872. 
Crowe, J. A., and G. B. Cavalcaselle. 
and Times of Titian. London, 1881. 
Crowe, J. A., and G. B. Cavalecaselle. Life 
and Works of Raphael. London, 1882-85. 
Crozat, Joseph Antoine, Marquis de Tugny, 
Recueil d’estampes, etc., avec un abrégé 
de la vie des peintres, etc. Paris, 1729. 
Cundall, Joseph. Hans Holbein. London, 
1832. 
Cunningham, Allan. 
ers and Sculptors. 
Cunningham, Allan. Life of Sir David Wil- 
kie. London, 1843. 
Cunningham, Peter. J.°M. W. Turner and his 
Works. London, 1852. 
Curtis, Charles B. Velasquez and Murillo. 
London and New York, 1883. 


London, 


Paris, 


Life 


Lives of Eminent Paint- 
London, 1830. 


AFFORNE, JAMES. Modern Art. Ton- 
don, 1877. 
Dafforne, James. Life of Edward Matthew 
Ward. London, 1879. 
D’Anvers, M. Raphael. London, 1883. 
Davies, Edward. Murillo. London, 1819. 
Davillier, Charles, Baron. Mémoire de Ve- 
lasquez. Paris, 1874. 
Davillier, Charles, Baron. 
ceuvres. Paris, 1875. 
Dayot, Armand. Salon de Paris, 1884. 
Delaborde, Vicomte Henri. CME£uvre de Paul 
Delaroche. Paris, 1858. 
Delaborde, Vicomte Henri. 


Fortuny, vie et 


Etudes sur les 


beaux-arts en France et en Italie. Paris, 
1864. 

Delaborde, Vicomte Henri. Lettres et pensées 
d’Hippolyte Flandrin, etc. Paris, 1865. 

Delaborde, Vicomte Henri. Mélanges sur Vart 
contemporain. Paris, 1866. 

Delaborde, Vicomte Henri. Ingres, sa vie et 
ses travaux. Paris, 1870. 

Delécluze, Etienne Jean Louis David. Notice — 
sur la vie et les ouvrages de Léopold Rob- 
ert. Paris, 1838. 

Delécluze, Etienne Jean Louis David, son 
école et son temps. Paris, 1855. 

Delestre, J. B. Gros, sa vie et ses ouvrages. 
Paris, 1867. 

Demetrius Phalerius. On Elocution. 

Democratic Review. New York. 

Dennistoun, James. Memoirs of Dukes of 
Urbino. London, 1851. 

Descamps, Jean Baptiste. Vies des peintres 
flamands et hollandais. Marseilles, 1842. 

Deutsche illustrirte Zeitung. Berlin. 

Deutsche Rundschau. MHerausgegeben von 
Julius Rodenberg. Berlin. 

Deutsche Warte. Carlsruhe. 

Dezallier. See Argenville. 

Diodorus Siculus. History. 

Dion Cassius. History. 

Dioskuren, Die. Deutsche Kunst-Zeitung. 
Herausgegeben und redigirt von Dr. Max 
Schasler. Berlin. 

Dlabacz, Gottfried Johann. Allgemeines his- 
torisches Ktnstler Lexicon fiir Béhmen. 
Prague, 1815. 

Dobson, Austin. 

Dohme, Robert. 
telalters und der Neuzeit. 
1886. 

Domenici, Bern. de’. Vite de’ pittori . . 
napolitani (Naples, 1742). 

Dragomanni, Francesco Gherardo. Vita e opere 
di Vincenzo Chialli. Florence, 1841. 

Dublin University Magazine. 

Du Camp, Maxime. Les beaux arts a l’Expo- 
sition universelle et aux Salons, 1863- 
67. Paris, 1867. 


Hogarth. London, 1883. 
Kunst und Kiinstler des Mit- 
Leipsic, 1877— 


Duchesne, Jean. Essai sur les nielles. Paris, 
1826. 

Dufay, Charles Jules. Notice sur la vie de 
Wicar. Paris, 1844. 


Du Mortier, B. C. Recherches sur le lieu de 
naissance de Rubens. Brussels, 1861. 

Du Mortier, B. C. Nouvelles recherches sur le 
lieu de naissance de Rubens. Brussels, 1862. 


xxii 


Babi OG TAP AY: 


Dumont, Léon. Antoine Watteau. Paris, 1866. 

Dunlap, William. History of Rise and Progress 
of the Arts of Design in the United States. 
New York, 1834. 

Duppa, Richard. Dissertation on Last Judg- 
ment by Michel Angelo. London, 1801. 

Duppa, Richard. Lives and Works of Raphael 
and Michel Angelo. London, 1856. 

Durande, Joseph. Carle et Horace Vernet. 
Paris, 1865. 

Diirr, D. Alphons. Adam Friedrich Oeser ; Kin 
Beitrag zur Kunstgeschichte des 18. Jahr- 
hunderts. Leipsic, 1879. 

Dussieux, L. Les artistes francais 4 létran- 


ger. Paris and Lyons, 1876. 
Dutuit, Eugéne. L’Ciuvre complet de Rem- 
brandt. Paris, 1880. 


ASTLAKE, SIR CHARLES L. Materials 

for a History of Oil Painting. Paris, 1847. 

Eastlake, Sir Charles L. Schools of Painting 
in Italy. London, 1851. 

Eastlake, Charles L. Notes on the Principal 
Pictures in the Louvre Gallery at Paris, 
and in the Brera Gallery at Milan. Lon- 
don, 1883. 

Eastlake, Charles L. Notes on the Old Pina- 
kothek, Munich. London, 1884. 

Eastlake, Lady. Life of Sir Charles Eastlake. 
London, 1870. 

Fastlake, Lady. Five Great Painters. 
don, 1883. 

Ebrard, Dr. A. Gustav Konig, sein Leben und 
seine Kunst. Erlangen, 1870. 

Edinburgh Review. 

Edwards, Edward. Anecdotes of Painters in 
England. London, 1808. 

Kisenmann. The Brothers Van Eyck. 

Hitelberger, Rudolf. Raphaels Apollo und 
Marsyas. Vienna, 1860. 

Hitelberger, Rudolf. Kunsthistorische Schrif- 
ten. Vienna, 1879. 

Eméric-David, Toussaint Bernard. Vies des 
artistes anciens et modernes. Paris, 1863. 

Eméric-David, Toussaint Bernard. Histoire de 
la peinture au moyen age. Paris, 1863. 

Engerth, Eduard Ritter von. Beschreibendes 
Verzeichniss der Gemiilde der Belvedere 
Galerie. Vienna, 1884. 

English Painters of Georgian Era. 
1876. 

Ennen, Leonard. Ueber den Geburtsort des 
P. P. Rubens. Cologne, 1861. 


Lon- 


London, 


'Foérster, Ernst. 


Ephrussi, Charles. 
1882. 

Ktex, Antoine. Ary Scheffer. Paris, 1859. 

L’Etruria pittrice ovvero storia della pittura 
Toscana. Florence, 1791. 

Eunapius. Vitz Philos. et Soph. (Lives of 
the Sophists). 

Europa. Leipsic. 

EKustathius. Ad Od. (Commentary on the Odys- 
sey). 

Eustathius. 
Iliad). 

Eye, A. von. 
Diirers. 


Albrecht Diirer. Paris, 


Ad Hom. Il. (Commentary on the 


Leben und Werke Albrecht 
Nordlingen, 1869. 


ABER, FRIEDRICH. Conversations-Lexi- 
con fiir Bildende Kunst. Leipsic, 1840-58. 

Fabretti, Raffaello. Inscriptions. 

Fagan, Louis. Michel Angelo in the British 
Museum. London, 1883. 

Fairholt, Francis William. Homes, Haunts, 
and Works of Dutch Genre Painters. 
London, 1856. 

Farington, Joseph. Memoirs of Sir J. Rey- 
nolds. London, 1819. 

Félibien, André. Entretiens sur la vie et les 
ouvrages des plus excellents peintres an- 
ciens et modernes. Amsterdam, 1706. 

Fernow, Karl Ludwig. Carstens, Leben und 
Werke. Herausgegeben und ergiinzt von 
Hermann Riegel. Hanover, 1867. 

Fétis, Edouard. ‘Les artistes belges 4 l’étran- 
ger. Brussels, 1857. 

Fétis, Edouard. Catalogue du musée royal de 


Belgique. Brussels, 1882. 

Feuillet de Conches, Félix Sebastien. Leopold 
Robert, sa vie, etc. Paris, 1854. 

Feuillet de Conches, Félix Sebastien. Histoire 


de l’école anglaise de peinture. Paris, 1882. 

Filhol. See Galerie du Musée. 

Fine Arts Quarterly Review. London. 

Fiorillo, Johann Dominik. Geschichte der 
zeichnenden Kiinste. Gdttingen, 1798- 
1808. 

Ford, Richard. Handbook for Travellers in 
Spain. 

Forster, Ernst. Die Wandgemiilde der St. 
Georgen Kapelle zu Padua. Berlin, 1841. 

Forster, Ernst. Geschichte der deutschen 
Kunst. Leipsic, 1851-63. 

Denkmale deutscher Bau- 

kunst, Bildnerei und Malerei. Leipsic, 

1855-67. 


xxiii 


BIBLIO GT ACE Tia 


Leben und Werke des Fra 
Ratisbon, 1859. 
Raphael. Leipsic, 1867. 
Peter von Cornelius. 


Forster, Ernst. 
Angelico. 

Forster, Ernst. 

Forster, Ernst. 
lin, 1874. 

Forster, Ernst. Farnesina Studien. 

Fortnightly Review. London. 

Fraser’s Magazine. London. 

Fromentin, Eugene. Les maitres d’autrefois. 
Paris, 1876. 

Fronto ad Verum (Letters to Verus). 

Fryer. Works of James Barry. London, 1809. 
Fuhrich, Lucas Ritter von. Josef Ritter von 
Fiihrich. Lebensskizze. Vienna, 1871. 
Fiihrich, Lucas Ritter von. Moritz von 
Schwind. Eine Lebensskizze nach Mit- 

theilungen, etc. Leipsic, 1871. 

Fulcher, Geo. W. Life of Thomas Gains- 
borough. London, 1856. 

Fissli, Johann Caspar. Leben des Geo. Phil. 
Rugendas und des Joh. Kupeczky. Zi- 
rich, 1758. 

Fiissli, Johann Caspar. 
Kiinstler in der Schweitz. 


Ber- 


Geschichte der besten 
Ziirich, 1769. 


ACHARD, LOUIS PROSPER. Histoire 
politique et diplomatique de Rubens. 
Brussels, 1877. 

Gachard, Louis Prosper. Retraite et mort de 
Charles V. Brussels, 1855. 

Gachet, Emile. Lettres inédites de Rubens. 
Brussels, 1846. 

Gaedertz, Theodor. 
beck, 1869. 

Gaedertz, Theodor. Hans Holbein der jiingere 
und seine Madonna des Birgermeisters 
Meyer. Dresden, 1872. 

Gaedertz, Theodor. Rubens und die Rubens- 
feier in Antwerpen. Leipsic, 1878. 

Galanti. Il Tintoretto. Published in the Atti 
della R. Accademia di Belle Arti in Ve- 
nezia, 1876. 

Galaxy Magazine. New York. 

Galeria de espafioles celebres contemporaneos, 
etc. Madrid, 1841-46. 

Galerie du Musée de France, publiée par Filhol 
et rédigée par Lavallée. Paris, 1814. 

Galerie espagnole. 

Galerie de Florence et du Palais Pitti, Tableaux 
de la. Dessinés par Wicar, avec les ex- 
plications par Mongez. Paris, 1819. 

Galerie royale de Dresde. 

Galerie de Versailles. 


Adriaan van Ostade. Lii- 


Galerie de Vienne, publiée par Charles Haas. 
Frankfort and Paris. : 
Galerie du Palais Pitti. Florence, 1842. 


Galerie du Palais Royal, avec un abrégé de la — 


vie des peintres, par ?Abbé de Fontenai. 
Paris, 1786. 

Galerie impériale de Hermitage. 

Gallenberg, Hugo Graf von. Leonardo da 
Vinci. Leipsic, 1834. 

Galleria dell’ Accademia di Firenze. 

Galleria di Firenze. Commencé par une So- 
ciété éditrice et continué par Achille Paris. 
Florence. 

Galleria di Torino, Reale, illustrata da Roberto 
d’Azeglio. Turin, 1836. 

Galt, John. Life of Benjamin West. London, 
1820. 

Gartenlaube, Die. 

Gautier, Theophile. 


Leipsic. 


L’Art moderne. Paris, 


1856. 

Gautier, Theophile. Les beaux arts en Europe. 
Paris, 1857. 

Gautier, Theophile. Guide de amateur au 
musée du Louvre. Paris, 1882. 

Gaye, D. Giov. Carteggio inedito d’artisti dei 
secoli XIV., XV., e XVI. in Firenze. Flor- 
ence, 1839-40. 

Gazette des Beaux Arts. Paris. 

Génard, Peter. Notice sur Jacques Jordaens. 
Ghent, 1852. 

Génard, Peter. Levensschets van Nicasius de 
Keyser. Antwerp, 1855. 

Génard, Peter. Levensschets van Quinten 
Massys. Antwerp, 1855-57. 

Génard, Peter. Levensschets van Adam van 
Noort. Antwerp, 1866. 


Génard, Peter. P. P. Rubens. Aanteekeningen 
over den grooten Meester en zijne Bloed- 
verwanten. Antwerp, 1877. 

Genevais, F. de la. Peintres et sculpteurs 
modernes. Paris, 1846. 

Gentleman’s Magazine. London. 

Gerrits, G. Engelberts. P. P. Rubens, zyn 
tyd, etc. Amsterdam, 1842. 

Gilbert, Josiah. Cadore, or Titian’s Country. 
London, 1869. 
Gilchrist, Alexander. 
London, 1855. 
Gilchrist, Alexander. 
London, 1863. 
Giornale di erudizione artistica. 
Giornale di erudizione toscana. 
Goddé. iuvre de Paul Delaroche. 

1868, 


Life of William Kitty. 
Life of William Blake. 
Perugia. 


Paris, 


xxiv 


ee a eee ee a 


BLDOLOGRAP AY 


Goethe, Johann Wolfgang. Abendmahl von 
Leonardo da Vinci. 

Goethe, Johann Wolfgang. Aus meinem Leben. 

Goethe, Johann Wolfgang. Philipp Hackert. 

Goethe, Johann Wolfgang. Schweizer Reise im 
Jahr 1797. 

Goethe, Johann Wolfgang. Ueber Kunst und 
Alterthum. Stuttgart, 1816-32. 

Goncourt, Edmond et Jules de. 
XVIIIme Siécle. Paris, 1883. 

Gonder. Andelys et Nicolas Poussin. Paris, 
1860. 

Gonse, Louis. Eugéne Fromentin. Paris, 1881. 

Gonzati, Bernardo. La Basilica di S. Antonio. 
Padua, 1852-53. 

Gool, J. van. De nieuwe Schouburg der neder- 
lantsche Kunstschilders, etc. The Hague, 
1750-51. 

Gosse, E. W. Memoir of Cecil Gordon Lawson. 
London, 1883. 

Gotti, Aurelio. Galleria di Firenze. Florence, 
1872. 
Gotti, Aurelio. 

ence, 1875. 

Goupil, Frédric Auguste Antoine. Voyage 
d’Horace Vernet en Orient. Paris, 1843. 

Goutzwiller, Charles. Musée de Colmar. Mar- 
tin Schongauer et son école. Colmar, 
1875. 

Gower, Lord Ronald. Figure Painters of Hol- 
land. London, 1880. 

Gower, Lord Ronald. The Great Historic Gal- 
leries of England. London, 1881-82-83-84. 

Graham, Maria. Memoirs of Nicolas Poussin. 
London, 1820. 

Graphic. London. 

Graves. Catalogue of Works of Sir E. Land- 
seer. London, 1875. 

Grimbergen, V. C. van. Historische Levensbe- 
schryving van P. P. Rubens. Rotterdam, 
1840. , 

Grimm, Herman. Holbeins Geburtsjahr. Ber- 
lin, 1867. 

Grimm, Herman. Rede auf Schinkel. Berlin, 
1867. 

Grimm, Herman. Zehn ausgewihlte Essays 
zur Hinfiihrung in das Studium der mo- 
dernen Kunst. Berlin, 1871. 

Grimm, Herman. Leben Raphaels von Urbino. 
Berlin, 1872. 

Grimm, Herman. 
1874. 

Grimm, Herman. 
Berlin, 1879. 


L’Art du 


Vita di Michele Angelo. Flor- 


Albrecht Diirer. Berlin, 


Leben Michel Angelos. 


Grosse, Julius. Die deutsche allgemeine und 
historische Kunstaustellung in Miinchen, 


1858. 

Grote, Mrs.H. Memoir of Ary Scheffer. Lon- 
don, 1860. 

Griineisen und Mauch. Ulms Kunstleben im 
Mittelalter. Ulm, 1840. 

Gruyer, F. A. Fresques de Raphael. Paris, 
1859. 

Gruyer, F. A. Vierges de Raphael. Paris, 
1859. 

Gruyer, F. A. Raphael et l’antiquité. Paris, 
1864, 


Gruyer, F. A. Raphael, peintre de portraits. 
Paris, 1881. 
Gualandi, Michelangelo. 
Gualandi, Michelangelo. 
G. F. Barbieri. 
Guhl, Ernst. 


Guida di Bologna. 
Memorie . 
Bologna, 1839. 

Die Frauen in der Kunstge- 


di 


schichte. Berlin, 1853. 

Guibal, Nicolas. Eloge historique de Mengs. 
Paris, 1781. 

Guibal, Nicolas. Eloge de Nicolas Poussin. 
Paris, 1783. 


Guiffrey, Jules. 
Paris, 1867. 
Guiffrey, Jules. 


Ciuvres de Charles Jacque. 


Antoine Van Dyck. Paris, 


1882. 
Guillemot. Le jugement dernier de Michel- 
Ange. Paris, 1828. 


Gutbier, Adolf, and Wilhelm Liibke. Rafael 
Werk. Dresden. 
Gwinner, Ph. Friedrich. Kunst und Kiinst- 


ler in Frankfurt. Frankfort, 1862. 


AAKH, ADOLF. Beitrige aus Wiirttem- 
berg zur neueren deutschen Kunstge- 
schichte. Stuttgart, 1863. 

Hagen, August. Acht Jahre aus dem Leben 

Michel Angelo Buonarottis. Berlin, 1869. 

Hamburger Kiinstler Lexicon. 
Hamerton, Philip Gilbert. Art Essays, Atlas 

Series. 

Hamerton, Philip Gilbert. Contemporary 

French Painters. London, 1868. 

Hamerton, Philip Gilbert. Painting in France 
after the decline of Classicism. London, 

1869. 

Hamerton, Philip Gilbert. 

Boston, 1879. 

Hamilton, G. Gallery of British Artists. Paris, 

1839. 

Harper’s Monthly Magazine. New York. 


Life of Turner. 


XXV 


BIBL OG li 4 ieee 


Harford, John 8S. Life of Michel Angelo. 
London, 1857. 

Hasse, Friedrich Christian August. Leben Ger- 
hards von Kiigelgen. Leipsic, 1824. 
Hasselt, André van. Histoire de Rubens. 

Brussels, 1840. 

Havard, Henry. Les arts et les artistes hol- 
landais. Paris, 1879. 

Havard, Henry. Les merveilles de l’art hol- 
landais exposées & Amsterdam en 1872. 
Arnhem, Brussels, Leipsic, Paris, 1873. 

Hayley, William. Life of George Romney. 
London, 1809. 

Head, Percy Rendell. 
1881. 

Head, Sir Samuel. History of Spanish and 
French Schools of Painting. London, 1848. 

Heath, Richard Forth. Albrecht Diirer. Lon- 
don, 1881. 

Heath, Richard Forth. Titian. London, 1885. 

Heaton, Mrs. Charles. Works of Sir David 
Wilkie. London, 1868. 

Heaton, Mrs. Charles. Leonardo da Vinci. 
London, 1874. 

Heaton, M.Compton. Correggio. London, 1882. 

Hédou. Gustave Morin et son wuvre. Rouen, 
1877. 


Van Dyck. London, 


Hédou. Peintres rouennais. Rouen, 1883. 

Helps, Sir Arthur. Friends in Council. Lon- 
don, 1847-49. 

Henriet, Frédéric. Charles Daubigny et son 


ceuvre. Paris, 1875. 
Hermann, Carl Friedrich. Epikritische Be- 
trachtungen tiber die polygnotischen Ge- 


malde. Géttingen, 1849. 
Herodotus. History. 
Hertling, Georg Freiherr von. Zur Erin- 


nerung an Friedrich Overbeck. Cologne, 
1875. 

Hoerberg, Pehr. Lebensbeschreibung. Trans- 
lated from the Swedish by Carl Schildener. 
Greifswald, 1819. 

Hoff, Johann Friedrich. Adrian Ludwig Rich- 
ter, Maler und Radirer. Frankfort, 1877. 

Hofstede de Groot. Ary Scheffer. Ein Char 
akterbild. Bielefeld, 1870. 

Holland, Hyacinth. Theodor Horschelt. Eine 
biographische Skizze. Munich, 1871. 
Holland, Hyacinth. Moritz von Schwind. 

Stuttgart, 1873. 

Hormayr, Josef Freiherr von. Archiv fiir ds- 
terreichische Geschichte. Vienna. 

Horne, Thomas Hartwell. The Works of Wil- 
liam Hogarth. London, 1866. 


Hotho, Heinrich Gustav. Geschichte der deut- 
schen und niederliindischen Malerei. Ber- 
lin, 1842-43. 

Hotho, Heinrich Gustav. Die Malerschule 
Huberts van Eyck. Berlin, 1858. 

Houghton Gallery. 


Houssaye, Arsene. L’Art francais depuis dix 


ans. Paris, 1883. 
Houssaye, Arsene. Galerié du XVIIIme siécle. 
Paris, 1874. 


Houssaye, Arsene. Histoire de Léonard de 
Vinci. Paris, 1869. . 

Howard, Frank. Memoir of Henry Howard. 
London, 1848. 

Huard, Etienne. Vie des peintres espagnols. 
Paris, 1839-41. 

Hibner, Julius. Schadow und seine Schule. 
Bonn, 1869. 


LUSTRACION Espajiola y Americana, Mad- 

rid. 

Illustrated London News. 

Tllustrazione Italiana. Rome. 

Illustreret Tidende. Copenhagen. 

Illustrirte Zeitung. Leipsic. 

Immerzeel, J. De Levens en Werken der 
hollandsche en vlaamsche Kunstschilders, 
etc. Amsterdam, 1842. 

Im neuen Reich. Leipsic. 

Ingram, J. H. Biography of Oliver M. Brown. 
London, 1883. 

International Review. London. 


AHN, OTTO. 
Leipsic, 1867. 
Jahrbuch der k6niglich preussischen Kunst- 
sammlungen. Berlin, 1880, seg. 
Jahrbuch der kunsthistorischen Sammlungen 


Biographische Aufsitze. 


des Allerhéchsten Kaiserhauses. Vienna, 
1883, seq. 
Jahrbiicher fiir Kunstwissenschaft. Heraus- 


gegeben von Dr. Zahn. Leipsic. 
Jal, Auguste. Dictionnaire critique de bio- 
graphie et d’histoire. Paris, 1867. 
Jameson, Mrs. Memoirs of Early Italian 
Painters. London, 1843. 

Jameson, Mrs. Monastic Orders. London, 1850. 
Jameson, Mrs. Public Galleries. London, 
1850. 
Jameson, Mrs. 
Jameson, Mrs. 

don, 1864. 


Madonna. London, 1852. 
History of Our Lord. Lon- 


xxvi 


Se ee ee eS ee es 


—— Ss) Se oe 


hb PLO Gh AP AY 


Jameson, Mrs. Sacred and Legendary Art. 
London, 1866. 

Jansen, Albert. Leben und Werke des Malers 
Giovanantonio Bazzi, genannt Il Sodoma. 
Stuttgart, 1879. 

Jarves, James Jackson. 
York, 1869. 

Johnston. Portraits of Washington. 
1882. 

Jones & Co. The National Gallery of Pictures 
by the great Masters. London. 

Joppi. Documenti inediti sulla vita di Pom- 
ponio Amalteo. Udine, 1869. 

Jordan, Max. Katalog der kéniglichen Na- 
tional Galerie zu Berlin. Berlin, 1885. 

Journal des Beaux Arts. Brussels. 


Art Thoughts. New 


Boston, 


AISER, V. Cornelius und Kaulbach in 
ihren Lieblings Werken. Basel, 1877. 

Kaulen, Wilhelm Freud’ und Leid im Leben 
deutscher Kiinstler. Frankfort, 1877. 

Keane, A. H. The Early Teutonic, Italian, 
and French Masters. London, 1880. 

Kellerhoven, F. Chefs-d’ceuvres des grands 
maitres. Paris, 1864. 

Kellogg, Minor K. Researches in the History 
of a Painting by Raphael. London, 1860. 

Kellogg, Minor K. Documents relating to a 
Picture by Leonardo da Vinci. London, 
1864. 

Kett, Charles W. Rubens. London, 1882. 

Klassiker der Malerei. Stuttgart, 1876—78. 

Knickerbocker Magazine. New York. 

Knight. Works of Sir Joshua Reynolds. 1798. 

Knoblich, A. Leben und Werke des Malers 
Michael Willmann. Breslau, 1865. 

Knowles, John. Life and Lectures of Fuseli. 
London, 1831. 

Kdlnische Zeitung. Cologne. 

Kramm, Christian. De Levens en Werken der 
hollandsche en vlaamsche Kunstschild- 
ers, etc. Amsterdam, 1857-1863. 

Kigelgen, Wilhelm von. Jugend Erinner- 
ungen eines alten Mannes. Berlin, 1881. 

Kugler, Franz Theodor. Karl Friedrich Schin- 
kel. Hine Characteristik seiner kunstler- 
ischen Wirksamkeit. Berlin, 1842. 

Kugler, Franz Theodor. Kleinere Schriften 
und Studien. Stuttgart, 1853. 

Kugler, Franz Theodor. Handbook of Paint- 
ing. Italian Schools, by Lady Eastlake. 
London, 1874. 


Kugler, Franz Theodor. Handbook of Paint- 


ing. German, Flemish, and Dutch Schools, 


by J. A. Crowe. London, 1879. 
Kunstblatt, Cotta’sches. Stuttgart. 
Kunstblatt, Deutsches. Leipsic, 1850-53. 


Berlin, 1854-57. Stuttgart, 1858. 
Kunst-Chronik. Beiblatt zur Zeitschrift fiir 
bildende Kunst. Leipsie. 
Kunst fiir Alle, Die. Munich, 1885, seq. 
Kiinste, Die graphischen, redigirt von Dr. 
Oskar Berggruen. Vienna, 1879, seq. 


ABARRE, LOUIS. Antoine Wiertz. Etude 
biographique. Brussels, 1867. 

Laborde, Comte Léon de. Les Ducs de Bour- 
gogne. Paris, 1849-51. 

Laborde, Comte Léon de. La renaissance des 
arts 4 la cour de France. Paris, 1855. 
Lagrange, Léon. Joseph Vernet et la peinture 

au XVIIIme siécle. Paris, 1863. 

Land und Meer, Ueber. Stuttgart. 

Landon, Charles Paul. Annales du Musée et 
de Ecole moderne des beaux arts. Paris, 
1802, seq. 

Landon, C.P. Vies et ceuvres des peintres les 
plus célébres de toutes les écoles. Paris, 
1803-1825. 

Landseer, Thomas. Life and Letters of Will- 
iam Bewick. London, 1871. 

Landsteiner, Karl. Hans Makart und Robert 
Hamerling. Vienna, 1873. 

Lanzi, Abate Luigi. History of Painting in 
Italy. Translated by Thomas Roscoe. Lon- 
don, 1847. 

Larousse, Pierre. Dictionnaire universel du 
XIXme siécle. Paris, 1864-1876. 

Lasinio, P., Le Chevalier. Imperiale et royale 
galerie de Florence. Florence, 1875. 
Latour, A. de. Comment un tableau de Mu- 

rillo fut volé. Sceaux, 1878. 

Lavice, André Absinthe. Revue des Musées 
d’Italie. Paris, 1862. 

Law, E. Historical Catalogue of Hampton Court 
Gallery. London, 1881. 

Layard, Austin Henry. The Brancacci Chapel, 
Arundel Society. London, 1868. 

Lear, Sidney H. A Christian Painter of the 
Nineteenth Century. London, 1875. 

Le Beffroi. Edited by James Weale. Bruges, 
1863, seq. 

Leclerq, Emile. Caractéres de l’école francaise 
moderne de peinture. Paris, 1881. 

Leixner, Otto Von. Die moderne Kunst. Ber- 
lin, 1878. 


XXvil 


BIBLIO Gh AT Ae 


Lejeune, Théodore. Guide de l’amateur de 


tableaux. Paris, 1864. 

Lenoir, Alexandre. Observations sur le génie 
de Michel Ange. Paris, 1820. 

Lenoir, Alexandre. Histoire des arts en 
France. Paris, 1811. 

Lenormant, Charles. Ary Scheffer. Paris, 
1859. 

Lenormant, Charles. Beaux-arts et voyages. 
Paris, 1861. 


Lenormant, Charles. Mémoire sur les pein- 
tures que Polygnote avait exécutées dans la 
Lesché de Delphes. Brussels, 1864. 

Lermolieff, Ivan. Die Werke italienischer 
Meister im den Galerien von Miinchen, 
Dresden und Berlin. Translated by Dr. 
Johannes Schwartze. Leipsic, 1880. 

Leslie, Charles Robert. Memoirs of the Life 
of John Constable. London, 1854. 

Leslie and Taylor. Life and Times of Sir 
Joshua Reynolds. London, 1865. 

Lester, C. Edwards. The Artists of America. 
New York, 1846. 


Lettres et les Arts, Les. Paris and New York. 

Lipowsky, Felix Joseph. Bayrisches Kiinstler- 
lexicon. Munich, 1810. 

Living Age. Boston. 

Locatelli, Pasino. Illustri Bergamaschi. 
gamo, 1867. 

London Illustrated News. 

London Daily News. 

London Magazine. 

London Telegraph. 

London Times. 

Liibke, Wilhelm. Die mittelalterliche Kunst 
in Westfalen. Leipsic, 1853. 

Ltbke, Wilhelm. Geschichte der italienischen 
Malerei. Stuttgart, 1878. 

Libke, Wilhelm. Geschichte der Renaissance 
in Deutschland. 

Liibke, Wilhelm. MRafaels Leben. 
1882. . 

Lucas. English Landscape Scenery from 
Constable’s Pictures. London, 1855. 


Ber- 


Dresden, 


ADRAZO, PEDRO DE. Catélogo de los 
cuadros del Museo del Prado de Madrid. 
Madrid, 1882. 

Magazine of Art. London and New York. 

Malone, Edmond. The Works of Sir Joshua 
Reynolds. London, 1819. 

Malvasia, Carlo Cesare. Felsina Pittrice. 
Vite de’ pittori bolognesi. Bologna, 1841. : 


Mander, Karel van. Leven der nederlandsche en 


hoogduitsche Schilders. Amsterdam, 1764. — 


Manhattan Magazine. New York. 

Mantz, Paul. Les Chefs-d’ceuvre de la pein- 
ture italienne. Paris, 1870. 

Mantz, Paul. Hans Holbein. Paris, 1879. 

Mantz, Paul. Francois Boucher. Paris, 1880. 

Mantz, Paul. Adrien Brouwer. Paris, 1880. 

Marchese, Vicenzo. 
pittori . Domenicani. Genoa, 1869. 

Marggraff, Rudolph and Hermann. . Miinchen 
mit seinen Kunstschitzen und Merkwiir- 


digkeiten. Munich, 1845. 
Mariette, Pierre Jean. Abecedario. Paris, 
1851-60. 


Marks, A. St. Anne of Leonardo da Vinci. 
London, 1883. ; 3 ; 
Marzo. Delle belle arti in Sicilia dai Nor- 

manni, etc. Palermo, 1859. 

Mason, George Champlin. Life and Works of 
Gilbert Stuart. New York, 1879. 

Mayer, Anton. Der Maler Martin Johann 
Schmidt. Vienna, 1879. 

Meaume, Edouard. Sébastien Le Clerc et son 
cuvre. Paris, 1877. 

Mémoires inédits sur la vie et les ouvrages des 
membres de |’Académie royale de pein- 
ture. Paris, 1854. 

Memorial History of Boston. 

Men of the Time. London. 

Ménard, René. L’Art en Alsace-Lorraine. 
Paris, 1876. 

Ménard, René. Chapters on Painting. Trans- 
lated by P. G. Hamerton. London, 1875. 

Mengs, Anton Raphael. Opere. Bassano, 1783. 
Rome, 1787. English translation, London, 
1796. 

Merlo, J. J. Nachrichten von dem Leben und 


den Werken kdélnicher Kiinstler. Co- 
logne, 1850. 
Merlo, J. J. Die Meister der. altkélnichen 


Malerschule. 
Merson, Olivier. 
Paris, 1867. 
Messager des sciences et des arts de la Bel- 
gique. Ghent, 1823, seq. 
Meusel, Johann Georg. Teutsches Kiinstler- 


Cologne, 1852. 
Ingres, sa vie et son ceuvre. 


lexikon. Lemgo, 1808-14. 

Meyer, Bruno. Studien und Kritiken. Stutt- 
gart, 1877. 

Meyer, Julius. Geschichte der franzésischen 
Malerei. Leipsic, 1867. 

Meyer, Julius. Allgemeines Kiinstler Lexi- 
kon. Berlin, 1870, seq. 


xxviii 


Memoire dei pit insigni — 


BIBLIOGRAPHY 


Meyer, Julius. Correggio. Leipsic, 1871. 

Meyer, Julius. Conversations Lexikon. Jahres 
Supplemente, i-v. Leipsic, 1879-83. 

Meyer, Julius. Die Gemilde der kéniglichen 
Museen zu Berlin. Leipsic, 1883. 

Meynell, Wilfrid. Some Modern Artists. Lon- 
don, 1883. 

Mezzanotte, Antonio. Commentario della vita 
di Pietro Vannucci. Perugia, 1836. 

Michaud, L. G.  Biographie universelle. 
Paris, 1843. 

Michel, J. F.M. Histoire de la vie de Rubens. 
Brussels, 1771. 

Michiels, Alfred. Etudes sur 
Brussels, 1845. 

Michiels, Alfred. Rubens et l’école d’Anvers. 
Paris, 1854. 

Michiels, Alfred. Histoire de la peinture fla- 
mande. Paris, 1865-79. 

Michiels, Alfred. Van Dyck et ses éléves. 
Paris, 1882. 

Middleton, Charles Henry. Descriptive Cata- 
logue of Rembrandt’s Works. London, 
1878. 

Mignaty, Marguerite Albana. 
Paris, 1881. ' 
Milanesi, Gaetano. Documenti per la storia 

dell’ arte sienese. Siena, 1857. 

Milanesi, Gaetano. Archivio storico italiano. 

Milanesi, Gaetano. Siena e il suo territorio. 

Milanesi, Gaetano. Della vera eta di Guido 
pittore sienese. Florence, 1859. 

Minor, Ellen F. Murillo. London, 1882. 

Mirecourt, Eugéne de. Horace Vernet. Paris, 
1858. 

Mirecourt, Eugéne de. 

Mitterbacher, Franz. 
1874. 

Mittheilungen des oesterreichischen Museums. 

Mollett, John W. Sir David Wilkie. London, 
1881. 

Mollett, John W. Meissonier. London, 1882. 

Mollett, John W. Rembrandt. London, 1882. 

Moniteur des Arts. Paris. 

Monkhouse, W. Cosmo. 
London, 1883. 

Montrosier, Eugéne. Artistes modernes. Paris, 
1884. 

Moreau, Adolphe. 
Paris, 1869. 

Morelli, L’Anonimo. Bassano, 1800. 

Morelli, Giovanni. Italian Masters in German 
Galleries. Translated from the German by 
Mrs. Louise M. Richter. London, 1883. 


VPAllemagne. 


Le Corrége. 


Ingres. Paris, 1869. 
KaulbachsNero. Gratz, 


J. M. W. Turmer. 


Decamps et son ceuvre. 


Morgan, Lady Sydney. Life and Times of Sal- 
vator Rosa. London, 1824. 

Morrona, Alessandro da. Pisa illustrata. Leg- 
horn, 1812. 

Moschini, Giovanni Antonio. Nuova guida per 
Venezia, etc. Venice, 1840. 

Miller, August Wilhelm. Moritz von Schwind. 
Hisenach, 1873. 

Miller, Carl Ottfried. Ancient Art and its 
Remains. London, 1847. 

Miller, Hermann Alexander. Biographisches 
Kiinstler Lexikon der Gegenwart. Leip- 
sic, 1882. 

Miller, Sigurd. Nyere dansk Maler Kunst. 
Copenhagen, 1884. 

Miiller, Vincenz. Universalhandbuch von Min- 
chen. 

Miiller von Kénigswinter, Wolfgang. Diissel- 
dorfer Kiinstler. lLeipsic, 1854. 


Miiller-Schuchardt. Carstens Werke. Leip- 
sic, 1869. — 
Miinchener Propylien. Munich. 


Mindler, Otto. Essai d’une analyse critique 
de la Notice des tableaux italiens au 
Louvre. Paris, 1850. 

Mintz, Eugéne. La renaissance en Italie et 
en France. Paris, 1885. 

Miintz, Eugene. Raphael. Paris, 1881. Eng- 
lish ed. by W. Armstrong. London, 1882. 

Miintz, Eugéne. Les précurseurs de la re- 
naissance. Paris, 1882. 

Musée de peinture, etc., par Réveil et Duchesne 
Ainé. Paris, 1830. 

Musée francais. Recueil complet des tableaux, 
etc., par S. C. Croze-Magnan. Paris, 1803. 

Musée royal. Publié par Henri Laurent. 
Paris, 1816. 

Musée royal de La Haye. Amsterdam, 1833. 

Museo Borbonico. Naples, 1824. 

Museo espafiol de Antiguedades. 

Museum Florentinum. Florence, 1732-1862. 


ZEVIUS IN FESTUS. Edition Muller. 
Nagler, Georg Kaspar. Neues Allgemeines 
Kiinstler Lexicon. Munich, 1835-52. 

Nagler, Georg Kaspar. Rafael als Mensch und 
Kiinstler. Munich, 1836. 

Nagler, Georg Kaspar. Albrecht Diirer und 
seine Kunst. Munich, 1837. 

Nagler, George Kaspar. Die Monogrammisten. 
Munich, 1850. 

Nation, The. New York. 

National Gallery. London, 1875. 


xxix 


BIBLIO GRAIG 


Naumann, Robert. Archiv fiir die zeichnenden 
Kiinste. Leipsic, 1855. 

Neefs, Emmanuel. Histoire de la peinture a 
Malines. Ghent, 1876. 

Neue Bibliothek der Wissenschaften. 

Neue freie Presse. Vienna. 

Neue illustrirte Zeitung. Vienna. 

Neuer Necrolog der deutschen. 
1824-34. Weimar, 1835-50. 

Nichols, John. Anecdotes of William Hogarth. 
London, 1833. 

Niedermayer, Andreas. Kunstler und Kunst- 
werke der Stadt Regensburg. Landshut, 
1857. 

Noble. Life and Works of Thomas Cole. 
London, 1850. 

Noel, Robert R. Life of Peter Paul Rubens. 
London, 1811. 

Nord und Siid. Eine deutsche Monatsschrift. 
Berlin. 

Northcote, James. Memoirs. London, 1813. 

Northcote, James. Life of Sir Joshua Rey- 
nolds. London, 1819. 

Northcote, James. The Life of Titian. 
don, 1830. 

Norvins. Histoire de Napoléon. 

Notes and Queries. London. 

Notes on Millais’s Pictures exhibited at Fine 
Art Society. 1881. 

Notizia d’opere di disegno, pub. de D. T. 
Morelli. Bassano, 1800. 

Nouvelle biographie générale. 

Nuova Antologia. 

Ny illustrerad Tidning. Stockholm. 


Iimenau, 


Lon- 


Paris, 1852-66. 


beeen W. J. Memoir of Daniel Mac- 
lise. 1871. 

Oesterreichische Kunst Chronik. Vienna. 

Ciuvre de P. P. Rubens. Antwerp and Brus- 
sels, 1877-78. 

(Euvres completes du Roi René, avec une bio- 
graphie. Angers, 1845. 

Old and New. Boston. 

Once a Week. London. 

Organ fiir christliche Kunst. Cologne. 

Osler, W. Roscoe. Tintoretto. London, 1879. 

Ottley, Henry A. Biographical and Critical 
Dictionary of Recent and Living Painters 
and Engravers. London, 1876. 

Ottley, William Young. The Italian School of 
Design. London, 1823. 

Ottley, William Young. The Early Florentine 
School. London, 1826. 


Overbeck, Johannes. Die antiken Schriftquel- 
len zur Geschichte der bildenden Kinste 
bei den Griechen. Leipsic, 1868. 

Overland Monthly. San Francisco. 

Owen, A. C. The Art Schools of Medizval 
Christendom. London, 1876. - 


AINTERS of the Georgian Era. 

1856. 

Paliard. Petite Madone d’Orléans. Paris, 1878. 

Palomino de Castro y Velasco, Antonio. Vidas 
de los pintores y estatuarios eminentes 
espafioles. London, 1742. 

Palustre, Leon. La renaissance en France. 
Paris, 1879. 

Passavant, Johann David. Kunstreise durch 
England und Belgien. Frankfort, 1833. 

Passavant, Johann David. Rafael von Urbino 
und sein Vater. Leipsic, 1839. 

Passavant, Johann David. Die christliche 
Kunst in Spanien. Leipsic, 1853. 

Passavant, Johann David. Raphael d’Urbin et 
son pére Gio. Santi. Paris, 1860. 

Passerini. La bibliografia di Michele Angelo. 
1875. 


London, 


Pater, Walter. Studies in the History of the © 


Renaissance. London, 1873. 

Pattison, Mrs. Mark. Renaissance of Art in 
France. London, 1879. 

Pattison, Mrs. Mark. Claude Lorrain. 
1884. 

Pausanias. Itinerary of Greece. 

Pecht, Friedrich. Deutsche 


Paris, 


Kitnstler des 


neunzehnten Jahrhunderts. Nérdlingen, 
1877-81. 
Penny Magazine. London. 


Perger, Anton Ritter von. Die Kunstschitze 
Wiens. ‘Trieste, 1854-56. 

Perkins, A. T. Life of J.S. Copley. 1873. 

Perkins, A. T. Sketches of Blackburn and 
Smibert. Proceedings Mass. Hist. Soc., 
VIII. 

Perkins, Charles C. Raphael and Michelan- 
gelo. Boston, 1877. 

Perrier, Charles. Etudes sur les beaux arts 
en France et al’étranger. Paris, 1863. 
Phillimore, Catherine Mary. Fra Angelico. 

London, 1881. 
Philostratus. Lives of the Sophists. 
Picturee Dominici Zampieri vyulgo Domeni- 


chino. Rome, 1762. 
Piédagnel, Alexandre. Souvenirs de Barbizon. 
Paris, 1876. 


oe oe eee 


—.. 


‘ 
¥ 
; 


eG NC at tithe WM ceo EA 


Pierotti, Giovanni. Ricordi di Alesso Baldo- 
vinetti. Lucca, 1868. 

Pigage, Nicolas de. La galerie electorale de 
Diisseldorf. Basle, 1778. 

Piles, Roger de. Recueil de divers ouvrages 
sur la peinture et le coloris. Paris, 
1755. 

Pinacoteca di Bologna. 

Pinchart, Alexandre. 
Brussels, 1876. 

Pinset, Raphael, and Jules d’Auriac. Histoire 
du portrait en France. Paris, 1884. 

Pistolesi, Erasmo. Il] Vaticano descritto ed il- 
lustrato. Rome, 1838. 

Planche, Gustave. Etudes sur l’école francais. 
Paris, 1855. 

Planche, Gustave. 
1855. 

Pliny. Natural History. Bohn ed., London, 
1885. 

Plutarch. Life of Aratus. 

Poillon, Louis. Nicolas Poussin. Paris, 1869. 


Roger de la pasture. 


Etudes sur les arts. Paris, 


Ponz, Antonio. Viage de Espafia. Madrid, 
1783. 
Portfolio. London. 


Pratt, Robert. Sketch of the Life and Paint- 
ings of Thomas Gainsborough. London, 
1788. 

Ptolemaus Hephestionus. Bibliotheca of Pho- 
tius. 

Pulling, F.S. Sir Joshua Reynolds. London, 
1880. 

Pungileoni, Luigi. Memorie istoriche di An- 
tonio Allegri, detto il Correggio. Parma, 
1817-21. 

Pungileoni, Luigi. Elogio storico di Giovanni 
Santi. Urbino, 1822. 

Pungileoni, Luigi. Elogio storica di Raffaello 
Santi. Urbino, 1829. 


UAST, FERDINAND VON. Karl Friedrich 
Schinkel. New Ruppin, 1866. 
Quatremére de Quincy, Antoine Chrysostéme. 
Histoire de la vie et des ouvrages de 
Michel-Ange Buonarotti. Paris, 1835. 
Quatremére de Quincy, Antoine Chrysostéme. 
Histoire de la vie et des ouvrages de Ra- 
phael. Paris, 1853. 
Quarterly Review. London. 
Quellenschriften fiir Kunstgeschichte. Vienna. 
Quilliet, F. Les arts italians en Espagne. 
Rome, 1825. 


Quilter, Harry. Giotto. London, 1881. 


ACZYNSKI, LE COMTE ATHANASE. 


Histoire de l’art moderne en Allemagne. 


Paris, 1841. 

Raczynski, Le Comte Athanase. Les arts en 
Portugal. Paris, 1846. 

Rafael Santi. Auswahl seiner bedentendsten 


Werke. Cassel, 1867. 

Rapport sur la restoration de la Madonna di 
Foligno. Paris, 1813. 

Ratti, Carlo Giuseppe. Epilogo della vita del 
fu cavaliere Antonio Raffaele Mengs. 
Genoa, 1779. 

Ratti, Carlo Giuseppe. Notizie storiche sin- 
cere intorno la vita, etc., di Correggio. 
Finale, 1781. 

Reber, Franz von. Geschichte de neuteren 
deutschen Kunst. Unter Mitwirkung von 
F. Pecht. Leipsic, 1884. 

Redgrave, Richard and Samuel. A Century of 
Painters of the English School. London, 
1866. 

Redgrave, Samuel. Dictionary of Artists of 
the English School. London, 1878. 

Rees, J. Kuntz. Horace Vernet. London, 
1880. 

Regnet, Carl Albert. Miinchener Kiinstlerbil- 
der. Leipsic, 1871. 

Reiffenberg, Le Baron Frédéric Ferdinand 
Thomas de. Nouvelles recherches sur P. 
P. Rubens. Brussels, 1835. 

Reiffenberg, Le Baron de. Les loges de 


Rafael. Brussels, 1853. 

Repertorium fiir Kunstwissenschaft. Stutt- 
gart, 1876, seq. 

Reumont, Alfred. Andrea del Sarto. Leipsic, 
1835. 

Réveil. Musée de peinture et de sculpture. 


Paris, 1829. 
| Revue artistique. 
Revue de Paris. 
Revue des deux mondes. Paris. 

Revue universelle des arts. Paris. 

Reynolds, Sir Joshua. Life of Raphael. Lon- 
don, 1816. 

Ricci, Amico, Marchese. Memorie storiche 
delle arti, etc., della Marca d’Ancona. 
Macerata, 1834. 

Richa, Giuseppe. Notizie istoriche delle 
chiese fiorentine. Florence, 1754-62. 
Richter, Jean Paul. Leonardo. London, 1880. 
Richter, Jean Paul. Italian Art in the National 

Gallery. London, 1883. 

Richter, Jean Paul. Catalogue of Dulwich 

Gallery. 


Paris. 


SKK, 


BIBLIOGRAPHY 


Richter, Jean Paul. Leonardo da Vinci: His 
Literary Works. London, 1883. 

Richter, Ludwig. Lebenserinnerungen eines 
deutschen Malers. Selbstbiographie von. 
Frankfort, 1885. 

Ridolfi, Bernardo. Vita di Paolo Cagliari Ve- 
ronese. Venice, 1646. 

Ridolfi, Bernardo. Le vite degl’ illustri pit- 
tori Veneti. Venice, 1648. 

Ridolfi, Bernardo. Le maraviglie dell’ arte. 
Padua, 1835-37. 

Riegel, Herman. 
Hanover, 1868. 

Riegel, Herman. Cornelius, der Meister der 
deutschen Malerei. Hanover, 1870. 

Riegel, Herman. Beitriige zur Geschichte der 
niederlindischen Malerei. Berlin, 1882. 

Riegel, Herman. Geschichte der Wandmalerei 
in Belgien seit 1856. Berlin, 1882. 


Deutsche Kunststudien. 


Riepenhausen, Franz and Johann. Geschichte 
der Malerei in Italien. Tiibingen, 1810. 
Riepenhausen, Franz and Johann. Das Leben 


Rafaels von Urbino. Mit Text von Robert 
Dohme. Berlin. . 

Righetti, Pietro. Descrizione del Campidoglio. 
Rome, 1833-386. 

Rigollot, Marcel Jerdme. 
dessin. Paris, 1863. 

Rio, Auguste F. Léonard de Vinci et son 
école. Paris, 1855. 

Rio, Auguste F. De la poésie chrétienne. 
Paris, 1861-67. 

Rio, Auguste F. Michel Ange et Raphaél. 
Freiburg, 1867. 

Robaut, Alfred, and Ernest Chesneau. L’Ciu- 
vre complet de Eugéne Delacroix. Paris, 
1885. 


Histoire des arts du 


Robertson, J. F. Great Painters. London, 
1877. 

Rochette, Raoul. Lettre id M.Schorn. Paris, 
1845. 

Rogers. Opie and his Works. - London, 1878. 


Romney, Rey. John. Life of George Romney. 


London, 1830. 


Rooses, Max. Geschichte der Malerschule 
Antwerpens. Aus dem vlimischen tiber- 
setzt von Dr. Franz Reber. Munich, 
1881. 


Roquette, Otto. Friedrich Preller. Ein Le- 
bensbild. . Frankfort, 1883. 

Rosenberg, Adolf. Sebald und Barthel Be- 
ham. Leipsic, 1875. 

Rosenberg, Adolf. Die Berliner Malerschule. 
Berlin, 1879. 


Rosenberg, Adolf. Rubensbriefe. Leipsic, 1881. 

Rosini, Giovanni. Storia della pittura italiana. 
Pisa, 1848-54. 

Rossetti, William Michael. Fine Art, chiefly 
Contemporary. London, 1867. 


Rossi, Adamo. Pittori di Foligno. Perugia, 
1872. 

Rossi, Giovanni Gherardo di. Vita di Angelica 
Kauffmann. Florence, 1810. 


Rossi, Giovanni Gherardo di. Pittori a fresco. 


Florence, 1832. 


Rubieri. Ritratto di Fra Girolamo.  Flor- 
ence, 1855. 
Rumohr, Carl Friedrich von.  Italienische 


Forschungen. Berlin and Stettin, 1827-31. 
BRumohr, Carl Friedrich von. Ueber Raphael 
und sein Verhiltniss zu den Zeitgenossen. 
Berlin and Stettin, 1831. 
Rumohr, Carl Friedrich von. Hans Holbein 
der jiingere, in seinem Verhialtniss zum 


deutschen Formschnittwesen. Leipsic, 
1836. 

Ruskin, John. Modern Painters. London, 
1851-60. 

Ruskin, John. Stones of Venice. London, 
1853-55. 


Ruskin, John. Art Schools of Christendom. 
London, 1859. 

Ruskin, John. Notes on Samuel Prout and 
William Hunt. London, 1879. 

Ruskin, John. The Artof England. London, 
1884. 


ACH, Aveaust. Asmus Jacob Carstens’ Ju- 
gend und Lehrjahre. Halle, 1881. 

Sainsbury, W. Noel. Original unpublished 
Papers, Illustrative of the Life of Sir Peter 
Paul Rubens. London, 1859. 

Sala, George Augustus. William Hogarth: 
Essays on the Man, the Work, and the 
Time. London, 1866. 

Sallet, Alfred von. Untersuchungen tber Al- 
brecht Diirer. Berlin, 1874. 

Sandby, William. History of the Royal Acad- 
emy of Arts. London, 1862. 

Sandrart, Joachim von. Teutsche Academie 
der edlen Bau-Bild-und-Malerey Kunste. 
Nuremberg, 1675-79. 

Sansovino, Francesco. Venetia Citt& noblis- 
sima, etc. Venice, 1663. 

Saturday Review. London. 

Sauval, Henri. Histoire et recherches des 
antiquités de Paris. Paris, 1724. 


xxxii 


es 


Vad sto ROS atte LO del 0 Up 


Schack, Adolf Friedrich, Graf von. 
Gemilde Sammlung. Stuttgart, 1884. 
Schadow, Johann Gottfried. Wittenberg’s 
Denkmiler der Bildnerei, etc. Witten- 

berg, 1825. 

Schiffer, Wilhelm. Die kénigliche Gemilde 
Gallerie im neuen Museum zu Dresden. 
Dresden, 1860-62. 

Scharf, George. Catalogue raisonné of the Pic- 
tures in Blenheim Palace. London, 1862. 

Scharf, George. Archzeologia, vols. xxxvi. and 
XXXIXx. 

Scharf, George. Old London. 

Schasler, Max. Die Wandgemiilde Wilhelm 
von Kaulbachs im Treppenhaus des neuen 
Museums zu Berlin. Berlin, 1854. 

Scheltema, Pieter. Rembrandt. Paris, 1866. 

Schlie, Friedrich. Beschreibendes Verzeich- 
niss der Werke iilterer Meister in der gross- 
herzoglichen Gemiilde Gallerie zu Schwe- 
rin. Schwerin, 1882. 

Schlie, Friedrich. Beschreibendes Verzeich- 
niss der Werke neuerer Meister in der 
grossherzoglichen Gallerie zu Schwerin. 
Schwerin, 1884. 

Schmarsow, August. Raphael und Pinturic- 
chio in Siena. Stuttgart, 1880. 

Schmidt, Wilhelm. Das Leben des Malers 
Adriaen Brouwer. Leipsic, 1873. 


Schnaase, Carl. Geschichte der bildenden 
Kinste. Diusseldorf, 1866-79. 
Schnaase, Carl. Niederlindische Briefe. 


Stuttgart, 1834. 

Schneevogt, C. G. Voorhelm. Catalogue des 
estampes gravées d’aprés Rubens. Haar- 
lem, 1873. 

Scholiast to Aristophanes’s Plutus. 

Schéne, Richard. JBeitrige zur Lebensge- 
schichte des Malers Jacob Asmus Carstens. 
Leipsic, 1866. 

Schopenhauer, Johanna. Johann van Hyck 
und seine Nachfolger. Frankfort, 1823. 

Schorn, R. R. See Rochette. 

Schuchardt, Christian. Lucas Cranach’s Leben 
und Werke. Leipsic, 1851-71. 

Schwibischer Merkur. Stuttgart. 

Scott, Leader. The Little Masters. 
1879. 

Scott, Leader. 

Scott, Leader. 
1881. 

Scott, Leader. Renaissance of Art in Italy. 
London, 1883. 

Scribner’s Monthly. New York. 


London, 


Murillo. 
Fra Bartolommeo. 


London, 1880. 
London, 


Meine | Selvatico, 


Sulla 
Padua, 


Pietro Estense, Marchese. 

cappellina degli Scrovegni. 
1836. 

Selvatico, Pietro Estense, Marchese. I] pittore 
Francesco Squarcione. Padua, 1839. 
Selvatico, Pietro Estense, Marchese. Di alcuni 

abbozzi di Tiziano. Padua, 1875. 

Sensier, Alfred. Journal de Rosalba Carriera. 
Paris, 1865. 

Sensier, Alfred. Souvenirs sur Théodore Rous- 
seau. Paris, 1872. 

Sensier, Alfred. Vie et couvres de J. F. Mil- 
let. Paris, 1881. 

Serie de rittrati d’uomini illustri toscani. Flor- 
ence, 1766-73. 

Sheldon, G. W. American Painters. 
York, 1879. 

Sighart, Joachim. Geschichte der bildenden 
Kinste im Kénigreich Bayern. Munich, 
1862. 

Sighart, Joachim. Leonardo da Vinci und sein 
letztes Abendmahl. Munich, 1867. 

Sillig, Julius. Dictionary of the Artists of 
Antiquity. London, 1837. 

Siret, Adolphe. Dictionnaire historique et 
raisonné des peintres. Brussels, 1883. 
Siret, Adolph. L’Enfant de Bruges, Frédéric 

van de Kerkhove. Paris, 1876. 

Smith, John. Catalogue Raisonné of the 

Works of the most Eminent Dutch, Flem- 


New 


ish, and French Painters, etc. London, 
1829-42. 

Société editrice et Paris. See Galleria di 
Firenze. 


Solly, E. Memoir of W. J. Miller. London, 
1875. 

Sélt]l, Johann Michael. Die bildende Kunst 
in Miinchen. Munich, 1842. 

Soprani, Raffaele. Le vite de’ pittori, etc., 
genovesi. Genoa, 1768. 

Soust de Boskenfeldt, Adolphe van. L’école 
belge de peinture en 1857. Brussels and 
Leipsic, 1858. 

Soust de Boskenfeldt, Adolphe van. 
d’Anvers en 1858. Brussels, 1859. 

Splendeurs de l’art en Belgique, Les. Brus- 
sels, 1848. 

Spooner, Shearjashub. Anecdotes of Painters, 
Engravers, and Architects. New York, 
1853. 

Spooner, Shearjashub. Biographical History 
of the Fine Arts. Philadelphia, 1873. 
Springer, Anton. Geschichte der bildenden 

Kiinste. Leipsic, 1858. 


L’école 


xxxiii 


BIBLLOCG RAL AR 


Springer, Anton. 
Leipsic, 1875. 

Springer, Anton. Rafael und Michel Angelo. 
Leipsic, 1878. 

Springer, Anton. Die Kunst des 
hunderts. Leipsic, 1884. 
Stafford Gallery, by William Young Ottley and 

Peltro William Tomkins. London, 1818. 

Stendhal, De (Henri Beyle). Histoire de la 
peinture en Italie. Paris, 1860. 

Stephens, Frederic George. arly Works of 
Landseer. London, 1869. 

Stephens, Frederic G. Sir Edwin Landseer, 
London, 1880. 

Stephens, Frederic G. Catalogue of the 
Works of Sir Joshua Reynolds. London, 
1884. 

Stephens, Frederic G. English Children as 
Painted by Sir Joshua Reynolds. London, 
1884. 

Sternberg, Alexander Freiherr von. Beriihmte 
deutsche Frauen des 18. Jahrhunderts. 
Leipsic, 1848. 

Stillfried, Heinrich Graf. 
leistungen des Malers 
Rugendas. Berlin, 1879. 

Stirling, William. Annals of the Artists of 
Spain. London, 1848. 

Stirling, William. Velasquez and his Works. 
London, 1855. 

Stoddard, Richard Henry. The Life, Letters. 
and Table Talk of Benjamin Robert Hay- 
don. New York, 1876. 

Stothert, James. French and Spanish Paint- 
ers. Philadelphia, 1875. 

Stowe, Edwin. Velasquez. 

Strabo, Geography of. 

Stromer, Th. Murillo, Leben und Werke. 
Berlin, 1879. 

Studien zur Kunstgeschichte. 
Leipsic, 1885. 

Stuers, Victor de. Notice historique et de- 
scriptive des tableaux et des sculptures 
exposés dans le Musée royal de La Haye. 
The Hague, 1874. 

Suidas, Lexicon of. 

Sunaert, A. P. Catalogue descriptif du Musée 
de Gand. Ghent, 1870. 

Sweetser, M. F. Artist Biographies. Boston, 
1882—1885. 

Swinburne, Algernon Charles. William Blake. 
A Critical Essay. London, 1868. 

Symonds, John Addington. Renaissance in 
Italy. London, 1875-80. 


19. Jahr- 


Leben und Kunst- 
Georg Phillip 


London, 1881. 


Gesammelte. 


Michel Angelo in Rome. jaa Svenska malare’s T. med Text. 


Stockholm, 1875. 

Taillason, J. J. Observations sur quelques 
grands peintres. Paris, 1807. 

Tassi, Francesco Maria. Vite de pittori ber- 
gamaschi. Bergamo, 1793. 

Taylor, Tom. Life of Benjamin Robert Hay- 
don. London, 1853. 

Taylor, Tom. Autobiographical Recollections. 
London, 1860. 

Temple Bar. London. 

Thausing, Moriz. Albrecht Durer. Geschichte 
seines Lebens und seiner Kunst. Leipsic, 
1876. English translation, edited by Fred- 
eric A. Eaton. London, 1882. 

Thausing, Moriz. Wiener Kunstbriefe. Leip- 
sic, 1884. 

Thicknesse, Philip. A Sketch of the Life and 
Paintings of Thomas Gainsborough. Lon- 
don, 1788. 

Thienemann, Georg August Wilhelm. Leben 
und Wirken des unvergleichlichen Thier- 
malers und Kupferstechers Johann Elias 
Ridinger. Leipsic, 1856. 

Thornbury, Walter. Life of Turner. London, 
1877. 

Tielemann, G. Karl Grass. Riga, 1818. 

Trusler, Rev. John, and Edwin F. Roberts. 
The Complete Works of William Ho- 
garth. London, 1860. 

Tiibinger Kunstblatt. 

Tubino, Francisco M. Murillo, su epoca, su 
vida, sus cuadros. Seville, 1864. 

Tubino, Francisco M. Pablo de Cespedes. 
Madrid, 1868. 

Tubino, Francisco M. El arte y los artistas 
contempor4neos en la Peninsula. Madrid, — 
1871. 

Tuckerman, Henry Theodore. 
Artists. New York, 1867. 

Tyroler Kiinstler Lexikon. 


Book of the 


Stuttgart. 


Bioneers Land und Meer. 
Paris. 


Univers Illustré. 
T’Universel. Paris. 
University Magazine. 
Unsere Zeit. Leipsic. 


Dublin. 


Ves DEN BRANDEN, F. JOSEPH. Geschie- 

denis der antwerpsche Schilder-school. 
Antwerp, 1883. 

Van der Willigen, Adrian. les artistes de 
Harlem. Haarlem and The Hague, 1870. 


XXXiV 


BIBLLOGRA PHY 


Van Even, Edward. Nederlandsche Konste- 
naers. Amsterdam, 1858. : 

Van Even, Edward. ‘Thierry Bouts, dit Stuer- 
bout. Brussels, 1861. 

Van Even, Edward. Thierry Bouts, dit Thierry 
de Haarlem. Louvain, 1864. 

Van Lerius, Théodore. Catalogue du Musée 
d’Anvers. Antwerp, 1874. 

Van Lerius, Théodore. Biographies d’artistes 
anversois. Antwerp, 1880. 

Van Soust. See Soust de Boskenfeldt. 

Vapereau, Gustave. Dictionnaire universel des 
contemporains. Paris, 1880. 

Varley. Memoir of Samuel Palmer. 
1882. 

Varro. De Lingua Latina. 

Vasari, Giorgio. Vite de’ pit excellenti pittori, 
scultori e architetti. Ed. Le Monnier, Flor- 
ence, 1849; do., Ed. Milanesi, Florence, 
1878. 

Vatout, Jean. 


London, 


Le palais de Fontainebleau. 


Paris, 1852. 
Vedriani, Lodovico. MRaccolta de pittori mo- 
denesi. Modena, 1662. 


Verachter, Frédéric. Généalogie de P. P. Ru- 
bens et de sa famille. Antwerp, 1840. 
Verachter, Frédéric. Le tombeau de Rubens. 

Antwerp, 1843. 

Vermiglioli, Giovanni Battista. Di Bernardino 
Pinturicchio, pittore perugino, memorie, 
etc. Perugia, 1837. 

Vermoelen, J. Teniers le jeune, sa vie, son 
ceuvre. Antwerp, 1865. 

Vermoelen, J. Notes historiques sur David 
Teniers et sa famille. Paris, 1870. 

Viardot, Louis. Notices sur les principaux 
peintres de Espagne. London, 1844. 

Viardot, Louis. Les Musées de France. Paris, 
1860. 

Viardot, Louis. Merveilles de la peinture. 
Paris, 1868. English translation, London, 
1870. 

Viardot, Louis. History of Painters of all 
Schools. London, 1877. 

Vidoni. Pittura cremonese. 

Villaamil, Gregorio Cruzada. Rubens. Diplo- 
matico Espafiol. Madrid, 1874. 

Villot, Frédéric. Notice des tableaux exposés 
dans les galeries du Musée national du 
Louvre. Paris, 1878. 

Vischer, Friedrich Theodore. Altes und Neues. 
Stuttgart, 1882. 

Vischer, Robert. 
italienische Renaissance. 


Luca Signorelli und die 
Leipsic, 1879. 


Vitruvius. De Architectura. 

Vlaamsche School, De. Tydschrift voor 
Kunsten, etc. Antwerp, 1855, seq. 

Vom Fels zum Meer. Berlin and Stuttgart. 

Vosmaer, Carel. Rembrandt, ses précurseurs 


et ses années d’apprentissage. The Hague, 
1863. 

Vosmaer, Carel. Rembrandt, sa vie et ses 
cuvres. The Hague, 1868. 


Vosmaer, Carel. Etchings after Frans Hals, 
by Prof. William Unger. Leyden, 1873. 

Vosmaer, Carel. Les ceuvres de William Unger. 
Leyden, 1874. 


AAGEN, GUSTAV FRIEDRICH. Ueber 
Hubert und Johan van Eyck. Breslau, 
1822. 

Waagen, Gustav Friedrich. Peter Paul Ru- 
bens: His Life and Genius. Translated 
from the German by Robert R. Noel. 
London, 1840. 

Waagen, Gustav Friedrich. Kunstwerke und 
Kiunstler in Deutschland. Leipsic, 1848. 

Waagen, Gustav Friedrich. Treasures of Art 
in Great Britain. London, 1854. 

Waagen, Gustav Friedrich. Die Gemilde- 
sammlung in der kaiserlichen Ermitage 
zu St. Petersburg. St. Petersburg, 1870. 

Waagen, Gustav Friedrich. Kleine Schriften. 
Stuttgart, 1875. 

Wackerbart, A. J. L. Vergleichende Ziige 
zwischen A. R. Mengs und Sir Joshua 
Reynolds. London, 1794. 

Walpole, Horace. Anecdotes of Painting in 
England. London, 1849. 

Ware, William. Lectures on Washington Alls- 
ton. Boston, 1852. 

Warnecke, Friedrich. Lucas Cranach der 
aeltere. Gdérlitz, 1879. 

Watteau, L. Catalogue raisonné du Musée 
Wiertz. Brussels, 1865. 

Watts. Liber Fluviorum, etc. 1853. 

Wauters, Alphonse J. Rogier van der Weyden, 
ses ceuvres, ses éléves et ses descendants. 
Brussels, 1856. 

Wauters, Alphonse J. Hughes van der Goes, 
sa vie et ses ceuvres. Brussels, 1872. 
Wauters, Alphonse J. B.vanOrley. Brussels, 

1883. 

Wauters, Alphonse J. La peinture flamande. 
Paris, 1884. 
Weale, W. H. James. 

l’Académie de Bruges. 


Catalogue du Musée de 
1861. 


XXXV 


BIBLIOGRAPHY 


Weale, W. H. James. 
London, 1861. 

Weale, W. H. James. Bruges et ses environs. 
Bruges, 1864. 

Weale, W.H. James. Hans Memling. Arundel 
Soc. Pub. 1865. 

Wedmore, Frederick. Studies in English Art. 
London, 1876. 

Wedmore, Frederick. Masters of Genre Paint- 
ing. London, 1880. 

Weilbach, Philip. Dansk Konstnerlexikon. 
Copenhagen, 1878. 

Weinhart, A. Leben der Angelica Kauffmann. 
Bregenz, 1814. 

Wessely, J. E. Adolf Menzel. Sein Leben 
und seine Werke. Leipsic, 1873. 

Wessely, J. E. Adrian Ludwig Richter zum 80. 
Geburtstag, ein Lebensbild. Vienna, 1883. 

Wessely, J. E. Kunstiibende Frauen. Leip- 
sic, 1884. 

Westermanns Illustrirte deutsche Monatshefte. 
Brunswick. 

Westrheene, T. Van. 


Notes sur Jan van Hyck. 


Jan Steen. Etude sur 
Vart en Hollande. The Hague, 1856. 
Westrheene, T. Van. Paulus Potter, sa vie 
et ses euvres. The Hague, 1867. 

Whitmore, W. H. Notes concerning Peter 
Pelham. Cambridge, 1867. 

Wibiral, F. C. Iconographie d’Antoine Van 
Dyck. Leipsic, 1877. 

Wicar. See Galerie de Florence. 

Wiegmann, Rudolf. Die Kunstakademie zu 
Diisseldorf. Dusseldorf, 1856. 

Wiesboeck, OC. L. Peter J. N. Geiger’s Werke. 
Leipsic, 1868. 

Williams, D. E. Life and Correspondence of 
Sir Thomas Lawrence. London, 1831. 

Willshire. Introduction to Ancient Prints. 

Wilmot-Buxton, H. J. English Painters. Lon- 
don, 1883. 

Wilson. Life and Works of Michel Angelo. 1876. 

Witte, Leopold. Michel Angelo Buonarroti. 
Rudolstadt, 1878. 

Woltmann, Alfred. Holbein und seine Zeit. 
Leipsic, 1874-76. 

Woltmann, Alfred. Geschichte der deutschen 
Kunst im Elsass. Leipsic, 1876. 

Woltmann, Alfred. Aus vier Jahrhunderten 
niederlindisch-deutscher Kunstgeschich- 
te. Berlin, 1878. 

Woltmann, Alfred, und Karl Woermann. Ge- 
schichte der Malerei. Leipsic, 1879-82. 

Wolzogen, Alfred Freiherr von. Aus Schink- 
els Nachlass. Berlin, 1862-63-64. 


Wolzogen, Alfred Freiherr von. Schinkel als 
Architect, Maler, und Kunstphilosoph. 
Berlin, 1864. 

Wolzogen, Alfred Freiherr von. Rafael Santi, 
sein Leben und seine Werke. Leipsic, 
1865. Translated by F. E. Bunnett. Lon- 
don, 1866. 

Wolzogen, Alfred Freiherr von. 
Cornelius. Berlin, 1867. 
Wornum, Ralph Nicholson. The Epochs of 
Painting Characterized. London, 1847. 
Wornum, Ralph Nicholson. Some Account of 
the Life and Works of Hans Holbein. 

London, 1867. 

Wornum, Ralph Nicholson. Hans Holbein 
and the Meier Madonna. London, 1871. 

Wright, Thomas. Some Account of the Life 
of Richard Wilson. London, 1824. 

Wurzbach, Alfred von. Die franzésischen 
Maler des achtzehnten Jahrhunderts. 
Stuttgart, 1879. 

Wurzbach, Alfred von. Martin Schongauer. 
Eine kritische Untersuchung seines Lebens 
und seiner Werke. Vienna, 1880. 

Wurzbach, Constant von. Biographisches 
Lexikon des Kaiserthums Oesterreich. 
Vienna, 1856-84. ; 

Wurzbach, Constant von. Eduard Steinle, ein 
Madonnen Maler unserer Zeit. Vienna, 
1879. 


Peter von 


OUNG, JOHN. Catalogue of the Celebrated 
Collection of Pictures of the late John 
Julius Angerstein, Esq. London, 1823. 

Yriarte, Charles. Goya, sa biographie, les 
fresques, etc. Paris, 1867. 


AHN. See Jahrbiicher. 
Zanelli, Ippolito. Vita del gran pittore 
Carlo Cignani. Bologna, 1722. 

Zanetti, Girolamo. Elogio di Rosalba Carri- 
era. Venice, 1818. 

Zani, D. Pietro. Enciclopedia metodica delle 
belle arti. Parma, 1819. 

Zanotto, Francesco. Il Fiore della scuola 
pittorica veneziana. ‘Trieste. 

Zanotto, Francesco. Pinacoteca della acca- 
demia veneta. Venice, 1830. 

Zeitschrift fiir bildende Kunst, herausgegeben 
von Dr. Carl von Litzow. Leipsic, 1866- 
85. 

Zimmermann, Robert. 
Vienna, 1870. 


Studien und Kritiken. 


XXXVi 


TABLE OF ABBREVIATIONS. 


Acad., Academy. 


A.N.A., Associate of the National Academy. 


A.R.A., Associate of the Royal Academy. 

A.R.H.A., Associate of the Royal Hiber- 
nian Academy. 

A.R.S.A., Associate of the Royal Scottish 
Academy. 

©. & C., Crowe and Cavalcaselle. 

Cat., Catalogue. 

Ch., Church. 

Col., Collection. 

Gal., Gallery. 

H., Height. 

ib., ibidem. 

id., idem. 

Inst., Institute. 


L. of Honour, Legion of Honour. 

Mus., Museum. 

N.A., National Academy or Academician. 

Nat. Gal., National Gallery. 

Pal., Palace, Palais, Palazzo. 

R., Royal. 

R.A., Royal Academy or Academician. 

R.H.A., Royal Hibernian Academy or 
Academician. 

R.S.A., Royal Scottish Academy or Acad- 
emician. 

S., San, Santa. 

SS., Santi, Sante. 

S. M., Santa Maria. 

St., Saint. 

W. & W., Woltmann and Woermann. 


*.* Words in italics indicate the alphabetical place of articles on the subjects specified 


CYCLOPREDIA 


OF 


PAINTERS AND PAINTINGS. 


at Odense, Denmark, Jan. 29, 1833. 

Landscape painter, first instructed in 
his native place, then pupil of Copenhagen 
Academy, and in 1853 of P. C. Skovgaard. 
Visited Italy before 1871, and in 1875-76. 
Member of Copenhagen Academy in 1874. 
Works: Wild Flowers (1857); View in 
Jaegersburg Deer-park (1865), Copenhagen 
Gallery ; Views on Island of Méen.—Sigurd 
Miiller, 3 ; Weilbach, 7. 

AALST. See Aelsté. 

AARESTRUP, MARIE HELENE, born 
at Flekkefjord, Norway, in 1829. Genre 
and portrait painter; pupil in Bergen of 
Reusch, landscape painter, in Paris (1856) 
of Tissier, and in Diisseldorf of Vautier. 
Works: Playing Child and Shepherd’s Boy, 
Art Union, Christiania ; Interior of Hotel 
Cluny in Paris, Flower Girl, Gothenburg 
Museum.—Meyer, Kinst. Lex., i. 2. 

ABATE CICCIO, L’. See Solimena. 

ABBATE (Abate, Abati), HERCOLE 
DELL’, died Jan. 20, 1613. Lombardo-Mo- 
denese school; eldest son of Giulio Camillo, 
and grandson of Niccold Abbate ; worked 
mostly in Modena. Painted several Ma- 
donnas for the Modenese churches, also a 
Hercules and the Nemean lion ; but princi- 
pal work is a fresco of Labours of Hercules, 


; AGAARD, CARL FREDERIK, born 


executed in connection with Bartolommeo | 


Schidone in the Palazzo Communale, Mo- 
dena, parts of which still exist. In the Mo- 
dena Gallery are four pictures of this master, 
namely, the Marriage (?), Annunciation, and 
Presentation of the Virgin, and the Birth of 
St. John Baptist.—Meyer, Kinst. Lex.,1. 9 ; 
Vedriani, Pittori . . . Modenesi, 102. 
ABBATE, NICCOLO DELL’, born in 
Modena about 1512, died in Paris in 1570. 
Lombard school; son of a painter named 
Giovanni (died at Modena, 1559), but 
whether Abbate is the family name, or a 
patronymic derived from Abba or Abate, a 
village in the territory of Reggio, or was 
adopted by Niccold in recognition of his 
master the Abate Primaticcio, is still uncer- 
tain, although it has been much discussed. 
He went with Primaticcio to France about 
1531, and after several years returned to 
Italy and executed many works in Bologna 
and Modena; in 1551 or 1552, he again 
crossed the Alps to assist Primaticcio in 
decorating the Chateau de Fontainebleau, 
where, in 1570, Catherine de Médicis com- 
missioned him to paint frescos of the La- 
bours of Hercules, the Loves of Vertum- 
nus, and incidents in the life of Alexander 
the Great. Niccold also painted frescos 
after the designs of Primaticcio in the 
Hotel de Guise, the Hétel de Montmorency, 
and the Chateau de Beauregard near Blois. 


ABBATI 


Essentially an imitator, and an eclectic 
whose style was a mixture of the Corre- 
gesque and Roman schools, Niccold had a 
great reputation, and is mentioned by Agos- 
tino Caracci in a famous sonnet, as combin- 
ing in his style all the qualities most desir- 
able for a painter to possess. Of his Italian 
frescos, several from the Palazzo Scandiano 
transferred to canvas are in the gallery at 
Modena, the best of which represent singers 
and players on musical instruments. Twelve 
subjects are taken from the Aineid. In the 
University, also, there is a frieze of men 
and maidens. Of the joint works of Prima- 
ticcio and Niccold at Fontainebleau little is 
distinguishable, and of that of Niccold, 
nothing, as the Great Gallery where he 
painted the Gods of Olympus and the 
story of Ulysses was destroyed in 1788. 
Whether the life-size Diana in the chiteau 
is by the master or the pupil is uncertain. 
Among Niccold’s few authentic paintings are 
the Rape of Proserpine, Stafford House, 
London ; and a Holy Family in his Corre- 
gesque manner, at Kedleston Hall, near 


: Derby, the 
NA dup t NA. dup. seat of Lord 
Scarsdale.— 


Vasari, ed. Le Mon., xi. 241 ; xiii. 5; Meyer, 
Kinst. Lex., i. 4; Burckhardt, 682 ; Miind- 
ler, Essai (Paris, 1850). 

ABBATI, GIUSEPPE, born in Naples 
in 1836, died in Florence, Feb. 20, 1868. 
Genre and landscape painter; son and 
pupil of Vincenzo A., of Naples; studied 
also at Venice Academy until 1852. In 
1860 and 1866 he joined the volunteers 
under Garibaldi, and then retired to the 
Tuscan coast to paint nature and peasant 
life, in the treatment of which he resembles 
Jules Breton. Scarcely had he reached a 
prominent place among modern Italian 
painters, when he died of a bite from his 
dog.—Meyer, Kiinst. Lex., i. 10. 

ABBEY, EDWIN AUSTIN, born in 
Philadelphia, United States, in 1852. Genre 
painter, pupil of Pennsylvania Academy of 
Fine Arts. Best known as an illustrator of 


periodicals, but has done good work in 
water colours. Studio in New York until 
1883, when he removed to London. Mem- 
ber of New York Water Colour Society and 
of London Institute of Water Colours. 
Works : Stage Office (1876), R. G. Dun, New 
York; Evil Eye (1877), Lady in a Gar- 
den (1878), J. W. Harper, ib. ; Rose in Oc- 
tober (1879), J. P. Townsend, ib. ; the Wid- 
ower (1883); Reading the Bible (1884), 
Andrew Carnegie, ib. . 

ABBOTT, FRANCIS LEMUEL, born in 
Leicestershire, England, in 1760, died in 
London in 1803. Pupil of Frank Hayman; 
went to London in 1780, and occasionally ex- 
hibited portraits at the Academy from 
1788 to 1800. Among his best works are 
Viscount Bridport, Earl Macartney, Sir 
George Staunton, Nelson, Nollekens, and 
Vancouver in the National Portrait Gallery ; 
Admiral Sir Peter Parker, Nelson, Green- 
wich Hospital.—Redgrave ; Catalogue Na- 
tional Portrait Gallery, 408. 

ABD-EL-KADER, CAPTURE OF THE - 
SMALA OF, Horace Vernet, Versailles 
Museum; canvas, H. 16 ft.x 71 ft. The 
smala, consisting of his camp, court, harem, 
and treasury, was taken by surprise, May 
16, 1843, by Duc d’Aumale at the head of 
two cavalry regiments. Booty of immense 
value and 5,000 prisoners were captured. 
Abd-el-Kader was absent at the time. 

ABEL, DEATH OF (Genesis iv. 8), An- 
drea Schiavone, Palazzo Pitti, Florence ; can- 
vas, H. 7 ft.x 6 ft. 2 in. Cain in the act of 
striking Abel, who, prostrate, tries to ward 
off the blow ; background, a wooded land- 
scape, with a dead goat. Baldinucci calls it 
Samson killing a Philistine.—Catalogue Pal- 
azzo Pitti. 

By Tintoretto, Venice Academy ; canvas. 
Ruskin says this picture and its companion 
piece, Adam and Eve, are the “best possible 
examples of what, in absolute power of 
painting, is supremest work, so far as I 
know, in all the world.” One of four sub- 
jects from Genesis, painted for the former 
Scuola della Trinita.—Lavice, 462. 


ABEL 


ABEL, JOSEF, born at Aschach, Upper 
Austria, in 1768, died in Vienna, Oct. 4, 
1818. History and portrait painter ; pupil 
of Vienna Academy ; obtained in 1794 the 
gold medal for his Dedalus and Icarus. 
In 1795 he accompanied Prince Czartoryski 
to Poland, whence, notwithstanding brilliant 
offers from Russia, he returned to Vienna, 
and remained there until 1801, when he 
went to Rome, where he sketched and partly 
finished several of his most important works. 
After 1807 he resided at Vienna and became 
member of the Academy in 1815. Abel is 
better known by his engravings than by his 
pictures. Works : Hector and Andromache, 
Andromache with Hector’s Body, Antigone, 
Prometheus, Socrates saving Theramenes, 
Klopstock and Homer entering Elysium 
(1807), Vienna Museum ; Cato of Utica, De- 
dalus and Icarus, Vienna Academy ; Socrates 
as Sculptor, Amor, Tibullus in Ecstasy, Hor- 
ace at Tibur, Scene from Olympian Games, 
Oath over Corpse of Lucretia, Darmstadt 
Gallery ; Socrates dictating his Will, Seiz- 
ure of Antigone, Liechtenstein Gallery, Vi- 
enna.—Andresen, ii. 70; Meyer, Kiinst. 
Lex., i. 20. 

ABEL DE PUJOL, ALEXANDRE 
DENIS, born in Valenciennes, France, 
Jan. 30, 1785, died in Paris, Sept. 28, 
1861. History painter, pupil of the Acad- 
emy of Valenciennes, of the Ecole des Beaux 
Arts, Paris, and of David, whose manner he 
followed; won in 1811 the grand prix de 
Rome, and resided in that city five years. 
Legion of Honour, 1822; Officer, 1835; 
Member of Academy, 1835. Earlier works 
are the best, especially the allegorical ones. 
He painted a number of pictures, now in 
the Louvre, for the government, and exe- 
cuted works in several churches of Paris 

and in the provincial museums. Works: 
_ Renaissance des Arts, a fresco (1819, de- 
 stroyed in 1856), copy in the Louvre; Ly- 

curgus presenting the Heir Apparent to the 
Lacedzmonians (1810), Ecole des Beaux 
_ Arts; Isaac Blessing the Children of Jacob 
(1810); Death of Britannicus (1814), Dijon 


i 


Museum ; St. Stephen preaching the Gospel 
(1817), St. Etienne du Mont; Baptism of 
Clovis (1824), Cathedral of Reims ; St. Peter 
reviving Tabitha (1827), St. Peter, Douai ; 
Burial of the Madonna, Notre Dame, Paris. 
—Ch. Blanc, Ecole francaise ; Siret, 729 ; 
Meyer, Kiinst. Lex., i. 22. 

ABELS, JACOBUS 'THEODORUS, 
born in Amsterdam, Netherlands, Sept. 1, 
1803, died in Abcoude, June 18, 1866. 
Landscape painter ; pupil of Jan van Raven- 
swaay. Went to Germany in 1826, and 
after his return settled at the Hague, where 
he married a daughter of the painter P. G. 
van Os. His moonlight landscapes are es- 
pecially noteworthy. Works: Fir Grove 
with Cattle, Wood Landscape, View of the 
Downs, National Museum, Amsterdam.— 
Meyer, Kiinst. Lex., ii. 23. 

ABILDGAARD, NICOLAI ABRAHAM, 
born in Copenhagen, Denmark, Sept. 11, 
1742, died at Fredriksdal, June 4, 1809. 
Son of Soren A., the Norwegian draughts- 
man, and pupil of Copenhagen Academy, 
where he won the great medal in 1767. 
Studied in Italy in 1772-77; became, after 
his return in the latter year, a member of 
the Academy, professor in 1786, and its di- 
rector from 1789 to 1792, and from 1802 to 
his death. His principal work, a series of 
Allegories (1791) in the castle of Christ- 
iansborg, was burned with the building in 
1794. He was held in high esteem, and 
the Crown Prince, afterwards Christian 
VIIL., delivered his funeral oration. Works: 
Philoctetes, Danish Ladies sacrificing their 
Jewelry to ransom King Svend, Cupid, Soc- 
rates in Ecstacy, Jupiter; scenes from Ham- 
let, Richard III., Macbeth, Henry VIIL ; 
illustrations to Terence, Apuleius, and Bag- 
gesen.—Meyer, Kiinst. Lex., 1. 26; Weil- 
bach, 9. 

ABOUKIR, BATTLE OF, Baron Gros, 
Versailles Museum. Battle fought July 25, 
1799. Scene : the final cavalry charge under 
Murat, when the Turks were driven into 
the sea. Fort of Aboukir, enemy’s camp, 
and ships in background. Painted in 


ABRAHAM 


1806. Engraved by A. Lefebre.—Lan- 
don, Musée, xiii. Plates 1-8; Galerie de 
Versailles, No. 660; Berthier, Relation 
de Expédition d’Egypte, 185. 

ABRAHAM AND ANGELS (Genesis 
xvi. 2), Murillo, Duke of Norfolk, London ; 
canvas, H. 6 ft. 4 in. x 8 ft. 1 in. Three 


angels, habited as pilgrims and bearing 


staves, two seated at a table and one stand- 
ing; Abraham approaching, bearing a 
dish of smoking meat; behind him, Sarah 
at the door of the house; in background, 
Hagar and Ishmael. Engraved by G. E. 
Price ; mezzotint by G. S. and J. G. Facius. 
—Curtis, 117. 

By Muriilo, Stafford House, London ; can- 
vas, H. 7 it. 9 in-x°8 It 6 in.) On left, 
three angels, habited as pilgrims and _ bear- 
ing staves; Abraham, kneeling, pointing 
with both hands to his house behind, invites 
them to enter. Companion to St. Peter in 
Prison, Hermitage ; one of eight large pic- 
tures painted in 1670-1674 for Hospital of 
La Caridad, Seville ; carried off by Marshal 


Soult, who sold it (1835), with the Prodigal 
Son by Murillo and St. Francis Borgia by 
Velasquez, to Duke of Sutherland for 500,- 
000 fr. 
271.—Palomino, ii. 422 ; Cean Bermudez ; 
Stirling, 11. 852; Ponz, Viage, ix. 147; Cur- 
tis, 115 ; Waagen, Treasures, ii. 68. 
AND HAGAR. See Hagar. 
ABRAHAM, HIS- 
TORY OF. See Raph- 
ael’s Bible. 


Florence ; canvas, H. 5 ft. 
7 in <40f0 Sain. 
ham, about to sacrifice 


TC MD 
Ce an al 


a = 


fees Anti 
(Voi gee ais 
4 


has his arm arrested by 


muh 


du Pal. Pitti, i. Pl. 2. 
By Murillo, Wm. C. 
Cartwright, Aynhoe, 


ve - \ to 
\ Wants 
z TRS 
wie = (Gy 
oll SON Rae) 
SSS HS = 
Abraham and Angels, Murillo, Stafford House. 


ft. 7 in. 


— 


and red mantle, has a 
brazier of coals in his right hand while his 


Engraved in outline, Réveil, iv. 


ABRAHAM, SACRI- — 
FICE OF (Genesis xxii.), — 
Cris. Allori, Palazzo Pitti, — 


Northamptonshire, Eng.; — 
canvas, H. 2 ft. 9 in. x3 7 
Abraham, in a — 
white turban, blue coat, — 


_ —_——a 


yea - Lae 


Abra- | 
Isaac in a rocky place, — 


an angel who points to 
the ram in the thicket; 
in back-ground, two ser- — 
vants and a pack-horse. — 
Engraved by Rossi.—Gal. — 


AL 


left rests on his sword; Isaac, in red and — 


blue, walks before, carrying wood. Brought 


from Spain in 1760 by John Blackwood, ~ 
from whom obtained by inheritance.—Cur- — 


tis, 117. 


By Raphael, Stanza d’Eliodoro, Vatican ; ¢ 


fresco on ceiling. Abraham holding Isaacon — 
the altar and about to complete the sacrifice — 


when an angel arrests his arm ; another an- 


gel descending from heaven with the ram. — 
Painted in 1513-14.—Vasari, ed. Mil, iv. — 
346 5 Passavant, i. 159 ; Miintz, 370 ; Gruyer, - 


Fresques, 241. 


By Rembrandt, Hermitage, St. Petersburg ; _ 
canvas, H. 6 ft. 3in. x 4ft.3in Abraham, 


ABSOLON 


with one hand on Isaac’s face, who lies 
bound on a pile of wood, is about to execute 
the command with the other, when an angel 


> life size. 


carried from Holland by French and pre- 
sented by Napoleon in 1811. Smaller copy 
in Madrid Museum. Engraved by Surugue 
pere.—Gal. Roy. de Dresde, i. Pl. 8; Vas- 
ari, ed. Mil, v. 51; C. & C., Italy, iti. 577. 

By Sodoma, Duomo, Pisa; wood, figures 
Painted in 1542. Carried to Paris 
in 1811; returned in 1814.—Vasari, ed. Mil., 
vi. 397. 


By D. TZeniers, Vienna Museum ; canvas, 


H. 4 ft. 1 in. x 3 ft. 3 in; signed, dated 


1653. Abraham and Isaac kneeling in prayer 
before an altar, on which isa fire and a ram 
ready for sacrifice ; in distance, a landscape, 
with two servants and an ass. Engraved 


. —_ ‘by Berkowez.—Gal. de Vienne, iii. Pl. 157. 


Ny: 
Ll. 
Wi 
f : ER | is a 
Hie (liters Ren YS er 
<< RRS Ye A 
Sy eG Ug 
‘ * _ Se 
—— N ae v >. 4 
—* ’ 
aS 
= YQ 
\ gh 


Sacrifice of Abraham, Rembrandt, Hermitage. 


seizes his arm and the knife falls from his 
grasp. Houghton Gallery, whence passed in 
1779, for £300, to Hermitage. Engraved 
by Murphy; Haide.—Ch. Blanc, Rembrandt, 
401. 

By Andrea del Sarto, Dresden Gallery ; 
wood, H. 7 ft. 7 in. x 5 ft. 8 in.; signed. 
Abraham, about to slay Isaac on an altar, is 
arrested by a boy angel from above ; at one 
side, the ram caught in the thicket; at the 
other, in background, a naked man watching 
anass. Painted in 1529, for Francis L, but 
in Andrea’s possession at his death in 1531 ; 
presented by Filippo Strozzi to Alfonso 
d’Avalos ; after many wanderings, returned 
to Florence and placed in Tribune of the 
Uffizi ; exchanged for a Correggio with the 
Duke of Modena, and finally sold to Augus- 
tus IL. of Saxony. Copy in Lyons Museum, 


ABSOLON, JOHN, born at Lambeth, 
England, May 6, 1815. Genre painter, 
chiefly in water colours ; pupil of Ferrigi ; 
supported himself when young by painting 


=A portraits in oil; in 1838 became a member 


y) 


ageily’ 
aa 


Sacrifice of Abraham, Andrea del Sarto, Dresden Gallery. 


of the New Water Colour Society, from 
which he withdrew in 1858, and exhibited 
in Academy an oil picture, Boulogne, 1857 ; 


5 


ACCORDEE 


returned to Water Colour Society in 1861. | (1589), Bonn Cathedral ; Pieta, Martyrdom 


In 1859, he visited Switzerland and Italy. 
Works: Savoyard Boy, First Sup (1839) ; 
Singing for a Wife (1840) ; Vicar of Wake- 
field in Prison (1842); Paul and Virginia 
(1843) ; Judgment of Midas, Captain Mac- 
heath Betrayed (1844); Threading the 
Needle (1846) ; Plenty (1849); First Night 
in a Convent (1853) ; The Baptism (1856) ; 
Boulogne (1858) ; Téte-a-Téte (1860) ; Mdlle. 
de Sombreuil (1861) ; Courtship of Gains- 
borough (1863); The Beacon (1876); 
Returning from Church, Bringing in the 
Maypole (1883).—Art Journal (1862), 201 ; 
Ottley; Meyer, Kinst. Lex., i. 34. 

ACCORDEE DE VILLAGE. See Village 
Bride. 

ACHARD, JEAN ALEXIS, born at Vo- 
reppe, Isere, France, June 8, 1807, died in 
Grenoble, Oct., 1884. Landscape painter, 
self-taught ; went to Paris in 1835, and 
exhibited first at the Salon in 1839; has 
travelled in Egypt. Medals: 3d class, 1844 ; 
2d class, 1845, 1848; 38d class, 1855. 
Works: Valley of the Isére (1844) ; Grande 
Chartreuse (1845) ; Mill of Crémieux (1848) ; 
Autumn Landscape (1853) ; Sea Coast near 
Honfleur (1861); Waterfall (1863); Cas- 
cade of Cernay-la-Ville (1866), Luxembourg ; 
View near Cernay (1870). Others in Muse- 
ums at Grenoble and Avignon.—Meyer, 
Kiinst. Lex., i. 38. 

ACHELOUS. See Hercules and Achelous. 

ACHEN, JOHANN or HANS VON, born 
in Cologne in 1562, died in Prague, Jan. 6, 
1615. History and portrait painter, Ger- 
man school ; pupil of C. Jerrigh in Cologne 
and of Kaspar Rems in Venice; studied 
Michelangelo and Tintoretto in Italy, and 
returned home in 1588. In 1590 he was 
called to Munich by Duke William V., be- 
came painter to the Emperor Rudolph IL, 
resided at Prague after 1601, and in 1612 
was appointed court painter to Matthias I. 
He was a mannerist like Goltzius and 
Spranger, and very much overrated by his 
contemporaries. Works : Crucifixion (1588), 
Protestant church, Cologne ; Entombment 


of St. Sebastian, do. of Magdalen, Jesuit 
church, Munich; Altarpiece with Christ 
crucified, Kreuzkapelle, ib. ; nine biblical, 
mythological, and genre scenes, Vienna 
Museum ; Raising of Lazarus, Nativity, St. 
Mary and Carthusian Monk, Portrait of 
Burgomaster Broelman (1588), all in Co- 
logne Museum ; Ave Maria, Christ raising 
the Widow’s Son, Truth victorious under 
Protection of Justice, twelve 
portraits of Bavarian princes 
and princesses, all at Schleiss- 
heim Gallery. — Allgem. d. 
Biogr., i. 29; Campori, Artisti italiani e 
stranieri, 245; Kugler (Crowe), i. 271; 
Meyer, Kiinst. Lex., i. 39; Organ f. christ. 
Ko xv oe 
ACHENBACH, ANDREAS, born in Cas- 
sel, Sept. 29, 
1815. Land- 
scape and mar- 
ine painter, pu- 
pil of Diisseldorf 
Academy (1827 
-1835) under 
Schirmer, and 
one of the most 
distinguished 
painters of the 
school. His 
early views of the Rhine country are fresh 
and individual. Later, he widened his 
range by visiting Holland (1832-33), Nor- 
way (1835), the Bavarian Tyrol (1836), and 
Italy (1843). After his return to Diissel- 
dorf in 1846, he painted a great number of 
German and Norwegian landscapes, treating 
mountain, forest, and sea with like ability 
and power. Achenbach is a member of the 
Berlin, Amsterdam, and Antwerp Academies, 
and has received many orders and medals. 
Paris Salon: medal 3d class, 1839 ; 1st class, 
1855 ; 3d class, 1867; L. of Honour, 1864. 
Works in galleries of Berlin, Munich, Frank- 
fort, Darmstadt, Carlsruhe, Diisseldorf, and 
in many private collections in Europe ; in 
the United States, in collections of Miss C. 


ACHENBACH 


—L. Wolfe, T. A. Havemeyer, Aug. Belmont, 
R. Hoe, J. W. Drexel, E. D. Morgan, and 
R. L. Cutting, New York; H. C. Gibson, 
John D. Lankenau, and Mrs. W. P. Wil- 
stach, Philadelphia ; 
H. P. Kidder, Boston ; BN 
W. T. Walters, J. W. 
Garrett, Baltimore ; J. 
Longworth, Cincinna- fi | AMA 
ti.—Brockhaus, i. 103 ; ( , 
Meyer, Kunst. Lex., i. 43 ; Miiller, 2 ; Nord 
u. Siid, xv. 381 ; Pecht, iii. 328. 
ACHENBACH, OSWALD, born in Diis- 
seldorf, Feb. 2, 1827. Landscape painter, 
brother and pupil of Andreas, but his 
conception of nature is more ideal, Vis- 
ited the Bavarian Alps at an early period, 
and went to Switzerland and Italy in 1845, 
1850, and 1851. His representations of 
southern scenery and of peculiar atmos- 
pheric effects are of rare excellence. Medals : 
Paris, 3d class, 1859 ; 2d class, 1861, 1863 ; 
L. of Honour, 1863. Works: Park Land- 
scape, Villa Chigi, Entry of a Cardinal into 
Ariccia (1851); Castel Gandolfo (1853) ; 


phia; Street in Naples, Joseph W. Drexel, 
N. Y.; Coliseum at Rome, Sta. Lucia, Tem- 
ple of Vesta and St. Peter’s, Convent of 
Vico, John D. Lankenau, Philadel- ; 
phia; Bay of Naples, Summer aN 
Night’s Festival at Naples, Wm. 
Astor, N. Y.—Meyer, Kiinst. Lex., 1. 46; 
Brockhaus, i. 104; Miller, 3. 

ACHILULES, ancient picture. 
won. 

ACHILLES, EDUCATION OF, Jean Reg- 


nault, Louvre ; canvas, H. 8 ft. 6 in. x 6 
ft. 1l in. The young Achilles, nude, about 


See Athen- 


to shoot an arrow, turns his head toward 
the Centaur Chiron, who, behind him, left, 


Nocturnal Funeral in Palestrina, Pilgrims] | 7 G 


from the Abruzzi (1861); Reapers in the , 


Campagna (1863) ; Torre del Greco (1868) ; 
Street in Torre dell’ Annunziata, Olive Har- 
vest at Sorrento, Campo Santo at Naples ; 
Festival in Araceli, Strand of Naples at a 
Church Festival, Naples and Vesuvius, Even- 


ing between Ceprano and Sora (1874); Pal-| > 


ace of Queen Joanna, Breslau Museum ; 
Villa Torlonia at Frascati, Market of Amalfi, 
National Gallery, Berlin; Vesuvius after 
Storm, Bay of Naples, Inauguration at Cas- 
tellamare, Castle of Ischia. The following 
are in the United States: Home of Garibaldi 
in Caprera, D. W. Powers, Rochester ; 
Naples at Midnight, F. C. Sales, Pawtucket, 
R. I; Fish-Market, Naples, H. Probasco, 
Cincinnati; Night at Capri, Judge G. 
Hoadley, Cincinnati; Storm in Roman 
Campagna, View near Rome, C. H. Wolff, 
Philadelphia ; Staircase Street, Mrs. W. P. 
Wilstach, Philadelphia; JBall-Players at 
Villa Torlonia, Mrs. J. G. Fell, Philadel- 


appears to give instruction ; in background, 
a dead lion, and, on the rocks above, a ser- 
pent. Salon, 1783. Engraved by Bervic.— 
Réveil, v. 305 ; Landon, Musée, i. 23. 
ACHTSCHELLINCK  (Achtschellinckx), 
LUCAS, born in Brussels, baptised Jan. 16, 
1626, died there, buried May 12, 1699. 
Landscape painter, Flemish school, pupil 
of Pieter Van der Borcht ; master of Brus- 
sels guild in 1657. Was of considerable 


ACKER 


merit ; worked for churches and monaster- 
ies. Works : Landscapes (2 with figures by 
Pieter Bout), Dresden Gallery ; three, for- 
merly in Pommersfelden Gallery; three, 
Museum, Bruges; two, City Hall, ib.; oth- 
ers in churches at Brussels.—Meyer, Kinst. 
Lex., 1. 50; Weale, Bruges et ses environs 
(1846), 21. 

ACKER, JACOB, flourished in Ulm, sec- 
ond half 15th century. German school. He 
is the only one of a family of painters of 
whom a well-authenticated work exists, viz., 
the pictures on the side wings and the pre- 
della of an altarpiece painted in 1483, which 
is preserved in the chapel of St. Leonard at 
the Cemetery of Risstipen, Ehingen. They 
represent Christ and the Disciples, and 
male and female saints.—Meyer, Kinst. 
Dex. 4551. 

ACKERMANN, JOHANN ADAM, born 
in Mentz in 1780, died in Frankfort in 1853. 
Landscape painter ; studied in Mentz and 
in Paris under David, then in Aschaffenburg, 
and from 1804 in Frankfort. Most success- 
ful in his winter landscapes taken in the 
Taunus, Spessart, and Odenwald. Works: 
View of Auerbach, View near Borghetto, 
Darmstadt Gallery. His brother, Georg 
Friedrich (1787-1843), was also a landscape 
painter.—Meyer, Kiinst. Lex., i. 51. 

ACQUA, CESARE DELL’, born in Pira- 
no, Istria, July 22,1821. History, genre, and 
portrait painter; pupil from 1842 of the 
Venice, and from 1847 of the Paris Acad- 
emy, then in Brussels of Gallait, whose 
influence is, next to that of the Venetian 
school, most observable in his pictures. 
From 1857 to 1868, after a previous journey 
to Italy, he won his greatest success with 
historical paintings, among which are a se- 
ries executed in 1858-66 in the Villa of Mir- 
amar for the Arch-duke Maximilian. Works : 
Last Moments of Niccold Macchiavelli ; 
Provenzano Silvani begging for Ransom of 
a Friend; Cromwell on the Battlefield ; 
John preaching in the Desert (1851) ; Jesus 
calling Little Children (1854) ; The Brothers 
Degli Uberti in the Battle of Monte Aperto 


(1851); Mary Stuart derided by the People 
of Edinburgh (1854) ; Ferruccio at the De- 
fence of Volterra (1854) ; Trieste proclaimed 
a free Port ; Ugon da Duino entrusted with 
the Government of Trieste (1855) ; Recep- 
tion of the Milanese in Brescia in 1162 


(1857) ; Confession of Louis XI. (1858) ;— 


Cornelia, Mother of the Gracchi ; Tintoretto 
and his Daughter ; Last Moments of Marino 


Faliero ; Anna Erizzo rejecting Mohammed’s ~ 


Love; Erasmus and Bolognese Students ; 
Youth of Spinoza; Dante received in Ver- 
ona by Cane della Scala ;. Sally of the Mi- 


lanese against Barbarossa (1863) ; The Kelts — 
as first Inhabitants of the Rocks at Mira- — 
mar ; Roman Festival ; Emperor Leopold I. 


visiting Grignano Monastery ; Archduke ~ 
Maximilian receiving the Delegation from — 


Mexico ; Departure of the Imperial Couple — 


— “as 


from Miramar; Arrival of Empress Eliza-— 
beth at Miramar; Allegory representing — 


Maximilian planning the building of Mira- 
mar.—Meyer, Kiinst. Lex., i. 54. 
ACTZION. See Diana and Acteeon. 


ADAM, ALBRECHT, born at Nérdlingen, — 
April 16, 1786, died in Munich, Aug. 28, — 
1862. Painter of military genre and of 


horses ; at Nuremberg in 1803 painted por- — 


traits and small hunting scenes, but after- 
wards, under the influence of Rugendas in 


. 


>a. we 


Augsburg, took up military subjects, for — 
which he found ample material during the — 


Austrian campaign of 1809. 


Went with — 


Eugéne Beauharnais as court painter to — 
Italy, and in 1812 to Russia; returned in © 
1815 to Munich, and found employment at — 


court. 


In 1829 he worked in Stuttgart for — 


the king of Wiirtemberg, and in 1850 painted 
in Vienna the battles of the Austrian army © 


under Radetzky. 
(1811); Battles of Moschaisk and Malojar- 
oslawetz, besides 85 other scenes from cam- 


paign of 1812; sixteen battle pieces from — 


Works: Battle of Leoben ~ 


er <.0% 


Life of Eugéne Beauharnais (1841, St. Peters- : 
burg); Battle of Abendsberg (1826); Paint- — 


er’s studio (1835), Berlin Museum ; Battle — 
on the Moskwa (1835) ; Battles of Custozza, — 


Novara, and Sta. Lucia (1850); Battle of 


ADAM 


Temesvar (1853) ; Battle of Zorndorf (1861); 
numerous horse-pieces and small genre 
scenes and _ portraits.— : 
Allgem. d. Biogr., i. 44; EX A 
Brockhaus, i. 128 ; Meyer, r A 
Kiinst. Lex., i. 65; Regnet, i. 1. 

ADAM, BENNO, born in Munich, July 
15, 1812. Son and pupil of Albrecht, and 
one of the best animal painters of the 
Munich school. Has been called the Ger- 
man Landseer on account of his skill in 
treating domestic animals, combined with 
human figures. Works; Fox Chase, Prince 
Karl of Furstenberg, Donaueschingen ; 
Wounded Stag, Prince Max of Furstenberg, 
Prague —Meyer, Kinst. Lex., 1. 69. 

ADAM, EMIL, born in Munich, May 20, 
1843. Painter of horses, equestrian por- 
traits, and hunting scenes; pupil of his 
father Benno, and his uncle Franz, and in 
figure painting of Portaels at Brussels (1865). 
Works: Meet at Pardubitz (60 hunters on 
horseback, 1868, Princess Maria Kinsky) ; 
Hunt at Lippspring (40 persons, 1871, Duke 
of Nassau); Hungarian Stud Horses during 
an Inundation ; Stud of Horses (Rh. G. Dun, 
N. Y.)—Meyer, Kinst. Lex., i. 72 ; Miller, 5. 

ADAM, EUGEN, born in Munich, Jan. 
22, 1817, died there, June 4, 1880. Genre 
painter, third son and pupil of Albrecht, 
whom he accompanied (1848) to the seat 
of war in Italy, where he remained until 
1856. Able painter of soldier life in peace 
and war, as also of picturesque customs and 
manners in Hungary, Croatia, and Dalmatia, 
which he visited in 1844-47. Manoeuvre 
under command of the Emperor of Austria 
(1851) ; two scenes from Conquest of Mal- 
ghuera (1852), Collection of Emperor of 
Austria ; Wounded Soldier (1859), Munich 
Gallery ; Cavalry Skirmish (1868).—Meyer, 
Kinst. Lex., i. 71; Kunst. Chronik, xv. 646 ; 
Illustr. Zeitg. (1880), i. 513. 

ADAM, FRANZ, born in Milan, May 4, 
1815. Painter of military subjects and Hun- 
garian scenes, like his father and master 
Albrecht, and his brother Eugen, with whom 
he followed the Italian and Hungarian cam- 


paigns in 1849 and 1850. Settled at Munich 
in 1850. Member of Munich and Vienna 
Academies ; Order of St. Michael; great 
gold medal at Berlin, 1875. Works: Eques- 
trian Portrait 
of Francis Jo- 
seph (1857); 
do. of Field 
Marshal Rad- 
etzky; Episode 
from battle of 
Solferino 
(1867); Skir- 
mish between 
Austrian Uh- 
lans and Pied- 
montese Dragoons (1868); Retreat from 
Russia (1869), National Gallery, Berlin ; 
Battle of Sedan (1874), Duke of Saxe-Mein- 
ingen, replica (1879), National Gallery, Ber- 
lin; Bavarian Corps before Orleans (1879), 
Munich Gallery; Transportation of Prison- 
ers after Sedan (1880); Hungarian Horses 
on the Danube (1881).—Brockhaus, 1. 129 ; 
Meyer, Kinst. Lex., i. 70; Miller, 4. 

ADAM, HEINRICH, born at Nordlingen 
in 1787, died in Munich, Feb. 15, 1862. 
Landscape painter, brother of Albrecht, 
studied at Augsburg and Munich in 1808. 
Visited Italy in 1811, 1813, and 1819, after 
which time he gave up etching and devoted 
himself to landscape painting. His views 
of the Bavarian Alps, Switzerland, and Upper 
Italy are true to nature, though somewhat 
sober and dry in execution. Works: View 
of Como (1822); Max- 
Joseph Square, and 11 

1832 views of monumental 
buildings ; Marienplatz with 14 frame pic- 
tures, Munich Gallery.—Meyer, Kinst. Lex., 
i. 68. 

ADAM, JEAN VICTOR, born in Paris, 
Jan, 28, 1801, died in Viroflay, Jan. 1, 1867. 
Military and genre painter, pupil of Meynier 
and Regnault. After 1840 chiefly occupied 
himself with designs for lithographic albums. 
Works: Entry of the French into Mentz, 
Battles of Castiglione, Neuwied, Montebello, 


aes: 


9 


ADAM 


Surrender of Nérdlingen, do. of suretps 


Veto dh dem 


sailles; 

The Pos- 

Sintee 

from the Chase.—Meyer, Kiinst. an 1. "3. 
ADAM, CREATION OF (Genesis i. 27), 
Michelangelo, Sistine Chapel, Rome ; fresco 
on ceiling. Adam, fully formed, lies on the 
verge of the earth in the act of rising, as if 
he felt for the first time the spark of life; 
above, at right, the Eternal, represented as 
an aged man with white hair and beard, 


By A. Diirer, Palazzo Pitti, Florence; wood, 
diptych ; each panel, H. 6 ft. 10 in. x 2 ft. 8 
in. Figures full length, life size, nude. L 
Adam standing under a tree, his hair flowing © 
over his shoulders, holding in left hand the © 
n| branch with the apple offered by Eve, while 
the right hangs down, the fingers making a 
deprecatory gesture ; by his side a wild boar — 
and a stag’s head; in foreground, a cock- 
pheasant. II. Eve, standing under a tree, 
receives in her left hand the forbidden fruit 
from the serpent, twined around a limb, and — 
with the other offers the branch to Adam; 
behind her a lioness asleep ; two parrots are 


Creation of FRR Wise eeae Sistine Chapel. 


upborne by genii, and enveloped in violet- 
grey drapery which is swelled out by the 
wind, stretches out his hand as if to bid 
Adam arise. Engraved by D. Cunego.— 
Grimm (Bunnétt), i. 333; Wey, Rome, 326; 
Kugler, 301; Klas. der Malerei, Pl. xxii., 
Text, 98. 

ADAM AND EVE, Carlo Cignani, Hague 
Museum; canvas, H. 7 ft. x 4 ft. 10 in. 
Nude, seated, Eve presenting the apple; at 
left, the tree of life, around which is wound 
the serpent, holding an apple in its mouth; 
at right, below, alioness and hercub. Painted 
in 1703. Engraved by Pierron ; Devillier.— 
Réveil, xiii. 902 ; Filhol, ii. 98, 


perched upon the tree, and in foreground ~ 
are two partridges. Painted in 1507. In — 
16th century in Rathhaus, Nuremberg, : 
whence passed into collection of Emperor — 
Rudolph IL Old copies in Madrid and 
Mentz Museums. The latter, probably by 
Juvenel, replaced original at Nuremberg ; © 
was carried off by the French in 1796, and 
returned to Mentz. Original engraved by 
Calzi and Ferretti in Bardi.i—Thausing, ii. 
2. 277; Ephrussi, 141; Passavant, Christ- 
liche Kunst in Spanien, 142. 

By Filippino Lippi, Brancacci Chapel, 
Carmine, Florence; fresco on right wall. 
Adam and Eve, the latter with the apple in © 


10 


ADAM 


her hand, standing under the Tree of Life, | Painted in 1511; a fine composition, ex- 
around which is coiled the serpent with a| tremely pure in style and feeling. Engraved 


woman’s head. The Eve is 
one of the first really beauti- 
ful nude figures in modern 
art. — Kugler (Hastlake), 1. 
222. 

By Michelangelo, Sistine 
Chapel, Rome; fresco on 
ceiling, H. 10 ft. 7in. x 31 
ft.10in. In centre, the Tree 
of Life, coiled around which 
the serpent, having the body 
of a woman, is handing the 
fruit to Eve, who reclines on 
rocks at left; beside her, 
Adam, standing, is reaching 
up for the fruit; at right, 
Adam and Eve, bound with 
vine leaves, are fleeing be- 
fore the Angel, who pursues 
from above with a drawn 
sword. Painted in 1512-13. 
—Pistolesi, viii. Pl. 107 ; Re- 
veil, xiv. Pl. 497. 

By Raphael, Camera della 


Segnatura, Vatican ; fresco, on ceiling. Eve, 
nude, standing, with one hand on a branch 


— 


ee 


- FSO 
SSSA 


Adam and Eve, Filippino Lippi, 


Carmine, Florence. 


Dongs 
; bg SS A BW BS: 
ne AN Dn ia si = ZA 
yy? . as 7/4 U FID S 
cj ch pets F A A, (Spee 
/ SAN: po NS 5s yOCN He 
TY mS S See: oF = <3 Caray 
: aa oe : = 75 
6 = a o—7 == LEA cee 


a 
Psa) 


by V. Solis; Fr. Muller; R. 
Wibert, and others.—Passa- 
vant, 1. 117; Mintz, 346; Ch. 
Blane, Ecole ombrienne ; 
Gruyer, Fresques, 73; Per- 
kins, Essay, 119. 

By fubens, Hague Muse- 
um ; wood, H. 2 ft. 6in. x3 
ft. Figures by Rubens, land- 
scape by Brueghel. Sold in 
collection of Madam Backer, 
Leyden, 1766, for 7350 flor- 
ins.—Smith, u. 113. 

Subject treated also by 
Lucas Cranach, Uffizi, Flor- 
ence; Frans Floris, Uffizi, 
Florence; Domenichino, Ros- 
pigliosi Palace, Rome; 
Francesco Albani, Brussels 
Museum ; Hendrik Goltzius, 
Hermitage, St. Petersburg ; 
Palma Vecchio, Brunswick 
Gallery ; and many others. 

See also Eden, Expulsion 


from, and Raphael’s Bible. 
ADAM OF FRANKFORT. See Elsheimer. 


of the tree, around which is twined the ser- 


ADAMO, MAX, born in Munich in 1837. 


pent with a woman’s head, offers the forbid-| History and genre painter, pupil of the 
den fruit to Adam, seated under a fig-tree.| Munich Academy under Phil. Foltz, and 


11 


ADAN 


of Piloty. Works: Alva condemning Peers 
of the Netherlands (1868); Fall of Robes- 
pierre ; Last Meeting between Egmont and 


Orange; Meeting between Charles IL and 
Cromwell; Adept in Laboratory ; Cromwell 
dissolving Parliament.—Meyer, Kinst. Lex., 
i. 77; Miller. 

ADAN, LOUIS EMILE, born in Paris, 
March 26, 1839. Genre painter, pupil of 
Picot and of Cabanel. Medals: 3d _ class, 
1875 ; 2d class, 1882. Works: Last Day of 
Sale (1875) ; Arrival at Chateau (1876) ; St. 
Martin’s Summer ; Room at Fontainebleau, 
H. B. Hurlbut, Cleveland; Marguerite at 
the Shrine, D. W. Powers, Rochester, N. Y.; 
Dancing Lesson (1877), O. D. Munn, N. Y.; 
Little Prodigy, Summer at St. Martin (1879); 

Gulliver at Brob- 

LOnile Qian lignag (1880) ; 

: ee Singing Lesson 

(1881); Autumn 

Evening (1882); The Ferryman’s Daughter 

(1883); L’abandonnée ; Old Chateau (1884); 
Anniversary, End of the Journey (1885). 

ADEMOLLO, CARLO, born in Florence, 
Italy, in 1825. Landscape and military 
genre painter, nephew of Luigi A., pupil of 
Bezzuoli ; became first known through land- 
scapes and animal pieces; painted in 1856, 
by order of government, the Battle of S. Mar- 
tino (Gallery of modern paintings, Florence), 
and since then chiefly military episodes in 
recent Italian history: Death of Cairoli at 
Varese ; Condemnation of Frate Ugo Bassi ; 
Stanislas Bechi going to Execution (1865). 
—Meyer, Kinst. Lex., i. 84. 

ADEMOLLO, LUIGI, born in Milan, 
Italy, April 80, 1764, died in Florence, Feb. 
11,1849. History painter, pupil of the Flor- 
ence Academy; studied afterwards in Rome; 
was much employed in decorating interiors 
in fresco, especially in Milan, Florence, and 
Lucca, His works show superficial skill and 
weak drawing of the nude and of drapery. 
—Meyer, Kiinst. Lex., i. 81. 

ADLOFF, KARL, born in Disseldorf in 
1819. Landscape and architecture painter ; 
pupil of Diisseldorf Academy in 1833-41. 


In his earlier time he treated genuine 
landscape, but later gave the preference to 
Dutch harbour, shore, canal, and street views. 
His subjects are well selected,though dry and 
somewhat feeble in colour. Works: Dutch 
Canal (1841); Harbour at Amsterdam (1846); 
Dutch Winter Landscapes; Landing-place 
at Dordrecht (1851); View of Ehrenbreit- 
stein and Coblentz (1854) ; Sea Harbour in 
Sunlight (1857).—Meyer, Kunst. Lex., i. 84. 

ADOLFI, CIRO, born at Bergamo, Italy, 
in 1683, died in 1758. History painter, son 
and pupil of Benedetto Adolfi (1640-1720), 
a painter of little reputation. Executed 
frescos in public buildings in Bergamo. 
Works: Four Evangelists, §. Alessandro 
della Croce, Bergamo; Deposition from 
Cross, 8. Maria delle Grazie, ib. ; Decolla- 
tion of St. John, Church at Colognola. 

ADOLFI, GIACOMO, born at Bergamo 
in 1682, died in 1741. History painter, 
son and pupil of Benedetto Adolfi and 
brother of the preceding. Among his best 
works are: the Coronation of the Virgin in 
the church of the Monastero del Paradiso, 
and the Adoration of the Magi in 8S. Ales- 
sandro della Croce, Bergamo. Other pictures 
in other churches in Bergamo and elsewhere. 

ADONE. See Doni. 

ADONIS. See Venus and Adonis. 

ADONIS, DEATH OF, Moretto, Uffizi, 
Florence ; canvas, figures life size. Venus, 
nude, wearing a diadem, is seated in a glade, 
attended by three nymphs and Pan playing 
his pipes; beside her a Cupid, pointing to 
right, where Adonis lies dead, with the boar 
in background. A capital picture, possibly 
by Sebastian del Piombo instead of Moretto. 
—C. & C., N. Italy, ii. 416; Rosini, v. 241; 
Molini, Galleria di Firenze, i. 145; Lavice, 
34; Lasinio, i. Pl. 40. 

By Paolo Veronese (?), Bridgewater House, 
London; canvas, H. 4 ft. 94 in. x5 ft. 7 in. 
Venus bewailing the death of Adonis, whose 
head is supported by a Cupid; in back- 
ground, a Cupid and two dogs worry the 
boar. Perhaps by Carlo Caliari. From 
collection of Queen Christina of Sweden 


12 


ADORATION 


to Orleans Gallery ; bought by Duke ofj;and dead bird on a table, in Antwerp Mu- 


Bridgewater for 150 guineas.—Waagen, 
Treasures, 11. 498; Stafford Gallery, ii. Pl. 29. 
ADORATION OF JESUS. See Madonna 
in Adoration. 
ADORATION OF KINGS. See Magi. 
ADORATION OF THE LAMB. See 
Eyck, Hubert van. 
ADORATION OF MAGI. See Magi. 


=. 
So3 
ee 


Af; 
{: 


Oe. 
Ze, MOQ LORE. 


a j a Ae 


seum.—Meyer, Kinst. Lex., i. 86; Rooses 
(Reber), 422. 
ADULTERESS. See Woman taken in 
Adultery. 
AEKEN, 
Bosch. 
AELST, EVERT VAN, born at Delft 
in 1602, died there in 1658. Dutch school; 


HIERONYMUS VAN. _ See 


“4 Fal] 
ied oN el 
Cay (aria ae ' 
(fy f of he t 
Drs vy» 

tT) 


Death of Adonis, Moretto, Uffizi. 


ADORATION OF SHEPHERDS. See 
Shepherds. 

ADORATION OF TRINITY. See Trin- 
aty. 

ADRIAENSSEN, ALEXANDER, born in 
Antwerp, Jan. 17, 1587, died there, Oct. 
30, 1661. Fish and still life painter, Flem- 
ish school; pupil of Artus Van Laeck ; 
travelled and came under influence of Ru- 
bens, and was intimate with Van Dyck, who 
painted his portrait, engraved by Van der 
Does. Works: Three pictures in Berlin 
Museum, one dated 1647. Among his best 
are four pictures in the Madrid Museum, 
and one representing fish, lobsters, a cat, 


painted dead game and weapons of the 
chase. Works: Two in Berlin Museum; 
Game, Dresden Gallery; others in Augs- 
burg, Schwerin, and Potsdam Galleries.— 
Kugler (Crowe), ii. 520; Meyer, Kinst. Lex., 
i, 100. 

AELST, WILLEM VAN; born at Delft 
in 1620, died in Amsterdam in 1679. Dutch 
school; like his uncle and master, Evert 
van Aelst, whom he far excelled, he painted 
dead birds and weapons of the chase, but 
his favourite subjects were fruit and other 
eatables with drinking glasses, etc. In 1643 
he became a member of the Guild of St. 
Luke at Delft. He visited France and Italy, 


13 


AANEAS 


worked at Florence for the Grand Duke, 
who presented him with a golden chain and 
medal, and on his return home in 1656 set- 
tiled at Amsterdam. Sometimes signed his 
name in Italian “Guglielmo.” Works: 
Dead partridges, etc., Munich Gallery ; mar- 
ble table with dead birds (1653), do. with 
costly vessels and fruit (1659), Berlin Mu- 
seum ; three similar subjects, Dresden Gal- 

lery; four in the 


WL: Pal “Pit elon 
W.V. e ence; Flowers 
(1663), and Still 

7 | Ox 3 Life (1671, for- 


merly at Com- 
piégne), Hague Museum.—Kugler (Crowe), 
ii, 520; Meyer, Kinst. Lex. i. 100; De 
Stuers, 3; Ch. Blanc, Ecole hollandaise. 

JENEAS AND ANCHISES, Lionello Spa- 
da, Louvre; canvas, H. 6 ft. 3 in. x 4 ft. 3 in. 
Aineas, accompanied by young Ascanius, 
bears on his shoulders his father Anchises, 
who received from Creusa, Adneas’s wife, 
the penates saved from Troy. Taken to 
France in 1634 by the Maréchal de Cré- 
qui; bought after his death (1638) by Car- 
dinal Richelieu, who bequeathed it to Louis 
XI., as a work of Lodovico Carracci. 
Afterward ascribed to Domenichino. En- 
eraved by Outkine; G. Audran.—Villot, 
Catalogue Louvre; Musée frangais ; Filhol, 
i, Pl. 85. 

JENEAS AND DIDO, Pierre Guérin, 
Louvre ; canvas, H. 9 ft. 8 in. x 12 ft. 9 in; 
signed, dated 1813. Dido, reclining upon a 
coach, listens with interest to A‘neas, who, 
seated at the left, recounts the story of the 
war of Troy ; Cupid, under the form of As- 
canius, holding one of the arms of the 
Queen, draws off her wedding ring; at right, 
Anna, sister of Dido, standing, looks at 
the false Ascanius. Salon, 1817; acquired 
in 1818 for 24,000 fr. Engraved by For- 
ster.—Réveil, vii. 461. 

JENEAS, LANDING OF, Claude Lorrain, 
formerly at Leigh Court; canvas, H. 5 ft. 
4 in. x 7 ft. 4 in.; signed, dated 1675. 
/fineas and his companions landing in La- 


tium. Companion piece to Temple of Apol- 
lo; formed with it at time of French Revo- 
lution, chief ornament of the Palazzo Al- 
tieri, whence bought by Fagan for 9,000 
scudi; sold to Mr. Beckford, with four 
Italian cabinet pictures for £10,000; the 
two Claudes passed to R. H. Davies and 
thence to Sir Philip Miles, Leigh Court, for 
£12,000; Leigh Court sale (1884), to Ag- 
new for 5,800 and 3,800 guineas respectively. 
—Waagen, Treasures, ii. 181; Pattison, 
Claude Lorrain. 

AERTSZEN, PIETER, called Lange-Pier, 
born in Amsterdam in 1507, died there, 
buried Sept. 21, 1578. History and genre 
painter, Dutch school, pupil of Alaert Claes- 
sen; joined the Antwerp Guild in 1535. 
Most of his large altarpieces were destroyed 
by the Iconoclasts in 1566. Works: Crucifix- 
ion, Antwerp Museum; do. (1546), Ant- 
werp Hospital ; Egg Dance (1557), Amster- 
dam Museum; Christ bearing the Cross, 
Berlin Museum ; Market Scene, Vienna Mu- 


Yi ix 


seum; Cook with Vegetables and Fruits, 

Cassel Museum.—Kugler (Crowe), i. 248; 

Meyer, Kinst. Lex., i. 104. 
AERTTINGER, KARL AUGUST, born 


in Munich, April 17, 1803. Military genre, — 


portrait, and landscape painter. First 
studied in Augsburg under Clemens Zim- 
mermann, then from his 20th to his 25th year 
in the Munich Academy, and in Paris in 
1830-31. At Vienna (1846-48), he painted 
equestrian portraits of the Imperial family, 
and of Archduke Charles with the Austrian 
generals of 1809. In 1849 he joined the 
Russian army in Hungary, and after the 
campaign worked five years in Poland for 
Prince Paskievich. Since his return to 
Germany in 1854 he has painted chiefly 
genre and landscape.—Meyer, Kinst. Lex., 
i. 107. 

ASSCULAPIUS, ancient picture. See Aris- 
tarete ; Nicophanes. 


14 


AASCULAPIUS 


ZESCULAPIUS, OFFERING TO, Pierre 
Guérin, Louvre ; canvas, H. 9 ft. 10 in. x 8 
ft. 8 in. An old man, convalescent, sup- 
ported by his two sons, offers thanks before 
the altar of Adsculapius for his restoration to 
health; his daughter, on her knees, shows joy 
at seeing the serpent eat of the fruit placed 
upon the altar. Salon, 1795.—Reéveil, iii. 
155. 

AETION (Kétion), painter and sculptor, 
time of Alexander the Great (?), classed by 
Pliny among greatest Greek artists. Most 
famous works, Marriage of Ninus and Sem- 
iramis and Marriage of Alexander and Rox- 
ana. The latter excited such admiration, 
when exhibited at the 
Olympic games, that Prox- 
enidas, one of the judges, 
gave him his daughter in 
marriage. Raphael repro- 
duced it in a drawing 
(Louvre) from Lucian’s 
minute description (Herod. - 
4; Imag. 7), which Razzi (I 
Sodoma) also followed in his 
fresco in the Farnesina. 
Miller places Aétion in the 
age of Hadrian and the An- 
tonines.—Miiller (Welcker), 
Bil. Pye iny, xxxv. 32. 
36; Cicero, Brut., 18. 

AFRA, ST., MARTYR- 
DOM OF, Paolo Veronese, 
S. Afra, Brescia; canvas, 
signed. ‘The saint about to suffer martyr- 
dom, with angels flying down with palms 
and garlands; at foot of scaffold lie the 
severed heads of SS. Faustinus and Jovitus, 
that in front being a portrait of Veronese. 
Damaged by restoring.— Ridolfi, Marav., 11.39. 

AGACHE, ALFRED PIERRE, born at 
Lille, contemporary. Figure and portrait 
painter, pupil of Pluchart and Colas. Med- 
al: 3d class, 1885. Works: Fillette (1881); 
The Fates (1882); Study (1883); Decorative 
Figure (1884); Fortuna (1885). 

AGAR, JACQUES D’, born in Paris in 
1642, died in Copenhagen, Nov. 16, 1715. 


15 


French school; a famous portrait painter 
of his day, pupil of Vouet. After the revo- 
cation of the Edict of Nantes (1682), being 
a Protestant he was forced to leave France ; 
went to Denmark and became court painter 
to Christian V., whose portrait he painted, 
as well as that of the queen, and of himself 
(1693), now in the Uffizi, Florence. After 
1699, he went to England and painted — 
many portraits.—Meyer, Kiinst. Lex. 1. 
114. 

AGASSE, JACQUES LAURENT, born in 
Geneva, Switzerland, died in London in 
1846. Animal and landscape painter ; stud- 
ied for some time in Paris, went to. London 


> 


mame \ 
M it Nal i _ i j| IK 
Se a 


iil 
ia 
il 


Martyrdom of St. Agatha, S, del Piombo, Pal. Pitti. 


about 1800 and exhibited pictures for sev- 
eral years at the Royal Academy. Some of 
them, including six landscapes, were en- 
graved. Works: Portrait of a Horse (1801) ; 
Rustic Repast ; Race Ground ; Market Day ; 
Fishmonger’s Shop (1842). 

AGATHA, ST., MARTYRDOM OF, Se- 
bastian del Piombo, Pitti, Florence ; wood, 
H. 4 ft. 3 in. x 5 ft. 6 in.; signed, dated 
1520. The saint, stripped to the waist, with 
two executioners about to apply their pin- 
cers to her breasts, at the order of Quinzi- 
ano, Prefect of Sicily, who tortured her be- 
cause she would not give up her faith; be- 


AGATHARCHUS 


hind him are several soldiers; to right, 
smoke of a fire seen through an arch and 


men carrying wood. Painted for Cardinal 


Rangoni. Belonged afterwards to Duke of 
Urbino and came to the Medici through 
marriage of Ferdinand IL with Vittoria 
della Rovere. Carried to Paris in 1799; 
returned in 1814. A masterpiece. Shows 
marks of Michelangelo’s coéperation.—Va- 
sari, ed. Mil., v. 581; C. & C., N. Italy, 
ii. 332; Rosini, v. 9; Lavice, 66; Landon, 
Musée, vi. Pl. 57. 
_ AGATHARCHUS, painter, bora in Sa- 
mos. Won renown in Athens, 5th cent. B. c., 
as a scenic and decorative painter ; aimed at 
optical illusion by means of perspective and, 
like Apollodorus, is classed among the ske- 
nographers or skiographers, 7.e., shadow 
painters, showing (Mahaffy, Hist. Clas. Gr. 
Lit., i. 244) that the painting of shadows was 
first attempted to produce effects of perspec- 
tive in scene painting. Agatharchus wrote a 
treatise on perspective and prepared the 
way for the development of painting in a 
modern sense. He decorated the house of 
Alcibiades at Athens (Plut. Alcib. 16), and 
painted a scene for Aidschylus.—Vitruv. 
Preef., vii.; R. R., Schorn, 168 ; Brunn, ii. 51. 

AGE OF INNOCENCE, Sir Joshua Rey- 
nolds, National Gallery, London; canvas, 
H. 2 ft. 6 in. x 2 ft. 1 in. A little girl, 
seated on the grass under trees, with her 
hands crossed. Vernon Collection, 1847; 
bought at Harman sale (1844) for 1520 
guineas. Engraved by J. Grozer (1788), 
Ch. Turner, F. Joubert, S. Cousins ; etched 
by A. Mongin.—Catalogue National Gal- 
lery ; Pulling, 84; Portfolio (1877), 149 ; 
Art Journal (1850), 44; Stephens, English 
Children, by Sir J. R. 

AGES, THREE. See Three Ages. 

AGGAS, ROBERT, born about 1619, died 
in London in 1679. Landscape and scene 
painter, much employed by Charles IL A 
landscape by him is preserved in the Painter- 
Stainers’ Hall, London. 

AGLAOPHON, Greek painter, of Thasos, 
Ionic school, about 490 3.c. Chiefly noted 


as father and master of Polygnotus and 
Aristophon, though Quintilian (xii. 10, 3) 
says his pictures were worthy of admiration 
on other grounds than antiquity. Said to 
have been first to represent Victory (Nike) 
with wings, and to have painted a horse of 
remarkable excellence. The two pictures 
commemorative of victories of Alcibiades in 
the Olympic games (about 416 B.c.), at- 
tributed both to Aglaophon and to a sup- 
posed grandson of same name, were prob- 
ably the work of his son Aristophon.—Pliny, 
xxxv. 35, 36 [60]; Brunn, i. 13. 

AGNENI, EUGENIO, born at Sutri, 
near Rome, Italy, in 1819. Pupil of F. Co- 
ghetti in Rome, where he went in 1832. 
When 18, he executed large paintings for 
churches, and in 1847 was employed by 
Pius IX. to decorate the throne-room in the 
Quirinal. He took part in the defence of 
Rome in 1848, and fled to Savona, where he 
aided Coghetti in frescoing the cathedral in 


1849. He then decorated the palaces of. 


Rocca, Solari, and Piuma, in Genoa, and in- 
vited by the architect of the Louvre to con- 
tribute to its decoration, went to Paris in 


1852, but only a few months later proceeded - 


to London, where he was employed to dec- 
orate the Queen’s room in Covent Gar- 
den, and to paint a large picture of the 
royal family. After the liberation of Italy 
he settled in Florence; in 1866 again served 
as a volunteer under Garibaldi, and has, 
since then, been occupied with decorative 
paintings in Florence. Besides his great 
wall paintings, he has painted many genre 
pictures, and biblical and allegorical scenes. 


Work : Departed Spirits of Great Floren-— 


tines protesting against the Foreign Inva- 
sion, Museo Civico, Turin.—Meyer, Kinst. 
Lex., 1. 124. 

AGNES, ST., MARTYRDOM OF, Dome- 
nichino, Bologna Gallery; canvas, H. 15 ft. 
10 in. x 10 ft. 4in. St. Agnes, on a pile of 
wood in an open court, is stabbed by an 
executioner with a poniard; at right, three 
women and a child look on with horror ; at 
left, the Prefect Sempronius, surrounded by 


16 


AGNES 


his guards; above, the Trinity, with a choir |lery; Thunder Storm, Rainbow, Sunset, 
of angels, to one of whom Christ gives the |Pommersfelden Gallery ; Landscapes with 
palm of martyrdom and a wreath for St. Ag-| large Rock, Millstone on Sled, Dresden Gal- 
nes. Painted for S. Agnese, Bologna; car-!lery ; Ruins of Monument, Vienna Museum ; 


ried to Paris in 1796; returned 
in 1815. Engraved by G. Aud- 
ran; F. Rosaspina. — Landon, 
Musée, vi. Pl. 25; Pinac. di Bo- 
logna, Pl. 52; Lavice, 17. 

AGNES, ST., MARTYRDOM 
OF, Tintoretto, S. M. dell’ Orto, 
Venice; canvas. Much injured 
by restoration. —Ridolfi, Ma- 
ray., i. 186; Zanotto, Guida, 
328. 

AGNOLO, ANDREA D. 
See Sarto. 

AGOBBIO, ODERIGI DA. 
See Oderiqi. 

AGRASOT, JOAQUIN, born 


at Orihuela, Spain, contempor- 


ary. History painter; pupil of | 


Academy S. Carlos of Valencia 
and of Fr. Martinez. Works: A 
Prestidigitator; La Feria de 
Orihuela; Before the Bull Fight 
(1880) ; Starting of the Proces- 
sion (1882); After Luncheon 
(1883) ; Fortuny’s Studio, J. H. 
Stebbins, N. Y.; Monk and 
Children, M. Graham, N. Y.— 
La Ilustracion (1880), i. 291; 
(1882), ii. 3; (1883), 1. 259. 
AGRICOLA, CHRISTOPH 
LUDWIG, born in Ratisbon, 
Noy. 5, 1667, died there, in 
1719. Landscape and portrait 
painter; German school. He 
was a constant traveller in Ger- 


many, England, Holland, and | 


France, but preferred to live in 
Naples or Augsburg. He treat- 


5 8D! > AGE co 
BELG; fi CRS 


Martyrdom of St. Agnes, Domenichino, Bologna Gallery 


ed landscape in the classical style under|Morning Dawn, Night, Rainbow, Land- 
Poussin’s influence, and in his glowing at-|scapes in Rain, Uffizi, Florence ; others in 
mospheric effects resembles Claude. Works:! Naples, Bologna, Turin, Gotha, Frankfort, 
two Oriental Landscapes, Mountain View, | Schwerin, and Breslau Galleries.—Kugler 
Portrait of Himself, Brunswick Museum ;/| (Crowe), ii. 567 ; Meyer, Kinst. Lex., 1. 


two Landscapes with Figures, 


Cassel Gal- | 137. 


17 


AGRICOLA 


AGRICOLA, EDUARD, born in Stuttgart, 
in 1800. Landscape painter, pupil of Berlin 
Academy; studied afterwards in Italy, 
where, at different times he spent eighteen 
years. Finally settled in Carlsruhe. Works: 
Waterfalls of Tivoli, Sicilian Landscapes, 
Amalfi, Castel di Porticii—Meyer, Kinst. 
Lex., i. 141. 

AGRICOLA, FILIPPO, born at Urbino 
in 1776, died in Rome in 1857. Subject 
painter, pupil of Academy 8S. Luca, Rome, 
of which he was director in 1843. His 
Marius contemplating Ruins of Carthage, 
for which he was awarded the first prize in 
1812, is in the Academy S. Luca, where is 
also his last work, Assumption, a commission 
from Gregory XVI. Other works: Holy 
Family (1819), Dante and Beatrice, Petrarch 
and Laura, Tasso and Eleonora, Herodias, 
Pygmalion, Madonna, Venus and Cupid, 
portraits of Crown Princess of Denmark 
(1822), of Countess Perticari, of the Poet 
Monti and his Daughter.—Meyer, Kiinst. 
Lex., i, 189 ; Kunstblatt (1823), 87; (1843) 
140. 

AGRICOLA, KARL (Joseph Aloys), born 
at Seckingen, Baden, Oct. 18, 1779, died 
in Vienna in 1852. Miniature painter, made 
his first studies in Carlsruhe, then from 
about 1798 at the Vienna Academy under 
Fiiger, in whose mannered style he painted 
to the last. His water colour miniatures, 
which are more generally known than his oil 
paintings, found great favour in Vienna. 
Works: Madonna, Vienna Museum ; Cupid 
and Psyche, The Hours, Vienna Academy ; 
St. Catharine, Cupid Hunting Butterflies, 
Cupid Asleep.—Meyer, Kiinst. Lex., i. 139 : 
Andresen, iv. 1. 

AGRIPPINA, LANDING OF, J oseph M. 
W. Turner, National Gallery, London ; can- 
vas, H. 2 ft. 11 in. x 8 ft. 11 in. Agrippina, 
mother of Caligula and widow of Germani- 
cus, brought home in an urn the ashes of 
her husband, who had died of poison at 
Antioch. She landed at Brundusium (Tac. 
An. iii. 1), but the picture represents Rome, 
with the Triumphal Bridge and Palace of the 


Ceesars in the background. Royal Academy, 
1839 ; Turner Collection. Engraved by A. 
Willmore. Etched by A. Brunet-Debaines 
in Portfolio, 1878.—Hamerton, Life ; Cata- 
logue National Gallery. 

AGUADOR DE SEVILLA. See Water 
Carrier. 

AHLBORN, AUGUST WILHELM JU- 
LIUS, born in Hanover, Oct. 11, 1796, died 
in Rome, Aug, 24, 1857. Landscape painter, 
pupil of Berlin Academy, and of Wach; after 
1827 resided in Italy and painted Italian 
views in the classic style, though he occa- 
sionally treated scenery in the Tyrol and 
Northern Germany, as well as religious 
subjects and portraits. Works: View of 
Tiber, St. Peter’s seen from the Vatican, 
Grotta Ferrata on the Alban Hill, portraits 
of Prince Leopold of Dessau and of Bliicher, 
Castle at Potsdam; Villa Mondragone, 
Bellevue Castle, near Berlin; others in the 
Castle of Charlottenburg ; View of Amalfi, 
Royal Palace, Berlin.— Meyer, Kiinst.. 
Lex., i. 148 ; Rosenberg, Berlin Malersch., 
56. 

AIGEN, KARL, born in Olmiitz, Moravia, 
in 1684, died in Vienna, Oct. 22, 1762. 
Painter of altarpieces, genre, and landscapes } 
studied probably in Vienna under P. von 
Strudl; member of Academy in 1754, and 
superintended school of painting in 1750- 
59. Works: Fair outside a City Gate, 
Kirmess, Vienna Museum ; two winter land- 
scapes, Harrach Gallery, Vienna.—Meyer, 
Kiinst. Lex., i. 150. 

AIGNER, JOSEF MATTHAUS, born in 
Vienna, Jan. 18, 1818. Portrait painter, 
pupil of Amerling, and early acquired re- 
putation. Being concerned in the revolu- 
tionary movement of 1848, and sentenced 
to death, he was pardoned at the intercession 
of influential persons. His portraits of 
Lenau, Grillparzer, F. Halm, Feuchtersleben, 
Betty Paoli, Rubinstein, Emperor Francis 
Joseph, and Empress Elizabeth, are charac- 
teristic, broadly treated and good in colour. 
—Brockhaus, i. 274; Meyer, Kinst. Lex., 
i. 151; Miller, 7. 


18 


ae 


ee eh 


AIGNIER 


AIGNIER, LOUIS AUGUSTE LAUR- 
ENT, born in Toulon, Feb. 21, 1819, died 
there, June 8, 1865. Landscape and marine 
painter, pupil of E. Hébert; sketched in 
France and Spain. Works in museums of 
Toulon and Marseilles—Meyer, Kiinst. 
Lex., i. 152. 

AIKMAN, WILLIAM, born at Cairney, 
Forfarshire, Scotland, Oct. 24, 1682, died 
in London, June 7, 1731. Pupil of Sir John 
Medina; studied in Rome in 1707-10, 
travelled in the East, returned to Edinburgh 
in 1712, and practised portrait painting 
with success. In 1723 settled in London, 
where he imitated manner of Kneller. His 
large, unfinished picture of the royal family 
is in collection of Duke of Devonshire ; por- 
trait of himself in National Gallery, Edin- 
burgh ; portrait of poet Thomson, Lyttelton 
Gallery, Worcester; portrait of Duncan 
Forbes (?), National Portrait Gallery, Lon- 
don. Many of his works are engraved.— 
Redgrave ; Meyer, Kinst. Lex., 1. 152. 

AINEMOLO. See Aniemolo. 

ATINMILLER, MAX EMANUEL, born 
in Munich, Feb. 14, 1807, died there, Dec. 
9, 1870. Painter of architecture and re- 
viver of glass painting; pupil of the 
Munich Academy, afterwards concerned 
in, and since 1844, director of the royal 
manufactory of stained glass, which under 
his supervision has produced important 
works for the cathedrals of Ratisbon, Co- 
logne, and Speier, St. Paul’s in London, 
and the university church at Cambridge. 
His Gothic church interiors, which show a 
thorough knowledge of architecture, are 
somewhat hard and cold in colour, though 
well managed as to light and shade. Works: 
two interior views of Westminster Abbey, 
Munich Gallery ; do., and others, National 
Gallery, Berlin ; interiors of Church of our 
Lady in Munich, St. Lawrence Church in 


Nuremberg, St. Stephen’s in Vien- 
na, and Ratisbon and Ulm cathe- BA. 
drals.—Allgem. d. Biogr., 1. 166 ; 
Meyer, Kiinst. Lex., i. 154 ; Kunst-Chronik, 
vi. 41; Brockhaus, 1. 277. 


AIVASOVSKT, IVAN CONSTANTINO- 
VICH, born at Feodosia, Crimea, July 7, 
1817. Marine painter, pupil of the St. 
Petersburg Academy, from 1833, and of 
Philippe Tanneur after the latter’s arrival 
there in 1835. From 1837 he studied inde- 
pendently from nature, and in the same 
year exhibited six pictures which attracted 
the attention of the Emperor, who enabled 
him to travel in the Crimea and Minerelia. 
He went in 1840 to Italy, where he painted, 
especially in Naples, his first successful pict- 
ures, and after having visited Holland, 
England, and Spain, returned to Russia in 
1844, was made member of the St. Peters- 
burg Academy, and executed for the Em- 
peror several views on the Gulf of Finland. 
In 1845 he made a tour through Southern 
Russia and Turkey, and then settled in his 
native town. In 1847-56 he exhibited a 
ereat number of pictures in Russia ; went 
to Paris in 1856 and painted there 25 pict- 
ures during the following winter. Medals: 
Paris, 3d class, 1848; L. of Honour, 1857. 
Works: View of Kertsch (1846), Sunrise 
on the Black Sea (1850), Creation, Deluge 
(1865), and others, Hermitage, St. Peters- 
burg; Sea Fights at Revel, Wiborg, and 
Tchesme, Wreck of the Frigate Ingerman- 
land, Peter the Great at Krassnaja Gorka, 
Winter Palace, ib.; View of Constantinople, 
Calm Sea, Naples by Moonlight, Academy, 
ib.; Solar Eclipse, Geographical Society, ib.; 
Venice, Storm, two Moonlight Views, Ex- 
change, ib.; Lighted Castle on the Sea, 
Peterhof; Calm Sea by Moonlight, three 
Storms at Sea, Monastery of St. George, 
Moscow Museum.—Meyer, Kiinst. Lex., 1. 
156; Miiller, 8. 

AJAX, ancient picture. See Apollodorus, 
Paneenus, Parrhasius, Timanthes, Timomach- 
US. 
AKIMOFF, IVAN AKIMOVICH, born 
in St. Petersburg, May 22, 1754, died May 
15, 1814. History painter, pupil of the 
St. Petersburg Academy; studied after- 
wards in Bologna and Rome, where he 


| copied chiefly Domenichino and the Carrac- 


19 


ALAMANNO 


ci. In Rome he was under the influence of 
P. Batoni, but later took Guercino for his 
model. After his return to Russia he was 
made member of the Academy, where the 
entire instruction in painting was soon en- 
trusted to his guidance. His talent has 
been greatly overrated by his contempo- 
raries. Works: Prometheus making a 
Statue, Hercules on the Pyre, St. Petersburg 
Academy ; Resurrection, Assumption, The 
Archangel, Alexander-Nevski Monastery. — 
Meyer, Kinst. Lex., i. 163. 

ALAMANNO or ALEMANNO, GIOVAN- 
NI or ZUANE. See Antonio da Murano. 

ALAMANNO, PIETRO, 2d half of 15th 
century. Venetian school; a mannered imi- 
tator of his master, Carlo Crivelli, alike de- 
void of power as a draughtsman and as a 
colourist. His style is a mixture of that of 
Crivelli and of Girolamo da Camerino, or in 
other words of the Lombardo-Venetian and 
the Umbro-Paduan schools. Examples in 
churches at Ascoli: Madonna and Saints 
(1489), S. M. della Carita ; do., Library of 
the Seminary ; do., 8S. Giacomo Apostolo.— 
C. & C., N. Italy, i. 98; Meyer, Kiinst. 
Lex., 1. 264 ; Burckhardt, 592. 

ALAUX, JEAN, called le Romain, born 
in Bordeaux, Jan. 15, 1786, died in Paris, 
March 2, 1864. History painter, pupil of 
Vincent and Guérin; won in 1815 the 
grand prix de Rome, and resided in that 
city five years. After the restoration of the 
Bourbons, executed many pictures for 
churches, and decorated the new rooms in 
the Louvre; and under Louis Philippe 
painted much for the new Museum at Ver- 
sailles. He was director of the French 
Academy in Rome in 1846-53; became 
member of the Institute in 1851; Legion of 
Honour in 1841. Works: Pandora brought 
from Heaven by Mercury (1824), ceiling of 
palace of St. Cloud (destroyed in 1870); 
Burial of our Lord, Notre Dame de Loretto, 
Paris ; Poussin and allegorical figures, ceil- 
ing, Louvre; Battle of Villaviciasa (1836), 
do. of Denain, Conquest of Valenciennes 
(1837), Assembly of Notables in Rouen 


under Henry IV., Meeting of the States Gen- 
eral in 1328, do. in 1614, Reading of the Will 
of Louis XIV. (1850), Presentation of Poussin 
to Louis XII, etc., altogether 29, Versailles 
Museum.—Meyer, Kiinst. Lex., i. 166; Art 


Journal (1864), 215; Kunstblatt (1833), 


224; (1837), 187 ; (1838), 115 ; (1841), 203. 

ALBA. See Macrino d’Alba. 
ALBANI (Albano), FRANCESCO, born 
in Bologna, 


EE WGA March 17, 

i — SD 1578, died 
phe ee cS; there, Oct. 4, 
Da & 1660. Bolog- 
et ) nese school. 
TSE _ Bon of Agos- 

o> tino Albani, a 

iD silkmerchant; 
ae pupil of Denis 


Calvaert at 
same time 
with Guido 
Reni, whom he followed to the school of the 
Carracci. After painting in Bologna he ac- 
companied Guido to Rome (1607-8), where 
he was engaged to finish the frescos in S. 
Giacomo degli Spagnuoli, begun by Anni- 
bale Carracci. This made his reputation, and 
brought him many commissions. He loved 
to paint mythological subjects, in which he 
could introduce goddesses, nymphs, and 
loves in smiling landscapes; and as he rep- 
resented them generally on small canvases 
he was called the Anacreon of painting. He 
had a villa delightfully situated, and a beau- 
tiful wife and twelve children, who are said 
to have served as his models. At Rome and 
in Bologna, as teacher and painter, he be- 
came the rival of Guido, whose disciples 
affected to despise his style as effeminate. 
Albani’s large works from sacred history 
show that he was capable of a nobler style 
than he generally attained. Four of these 
are in the Bologna Gallery. Albani executed 
frescos in the Palazzo Verospi (Torlonia), and 
in the church of 8S. M. della Pace, Rome; and 
in the Giustiniani Villa, Bassano. Other 
works are: Expulsion from Paradise, Lord — 


20 


5 faa hy et oF 


ALBERTI 


Wensleydale, London; Repose in Egypt, 
Dresden Gallery ; do., Uffizi, Florence ; Holy 
Family, Palazzo Pitti, Florence; The Four 
Elements, Turin Gallery ; do., Palazzo Bor- 
ghese, Rome ; Annunciation (2), Venus and 
Adonis, Venus and Vulcan, Toilette of Venus, 
Cupids Disarmed, Mars and Nymphs, Salma- 
cis and Hermaphroditus, Lot and his Daugh- 
ters, Hersi- 
lia separat- 


ing Romu- FA ti, ? 
lus and Re- 
mus, Holy ; aru 


Family, Louvre, Paris.—Malvasia, 1. 149 ; 
Lanzi, iii. 89; Meyer, Kiinst. Lex., i. 171 ; 
Amorini, Vita, etc. (1837) ; Burckhardt, 764, 
770, 785, 791, 801 ; Ch. Blanc, Keole bolo- 
naise ; Dohme, 2111. 

ALBERTI, ALESSANDRO, born at Borgo 
S. Sepolero, Italy, March 9, 1551, died in 
Rome, July 10, 1596. Son of the architect 
and sculptor Alberto A.; pupil of one Gas- 
pero di Silvestro of Perugia; went to Rome 
in 1556. He was employed by several 
Italian princes, and painted for churches 
and palaces in Naples and in Rome. Highly 
esteemed as a fresco-painter.—Meyer; Kinst. 
Lex., i. 204. 

ALBERTI, ANTONIO. See Antonio da 
Ferrara. 

ALBERTI, GIUSEPPE, born at Cavalese, 
Tyrol, in 1664, died there in 1730. Studied 
medicine at Padua, but gave it up for archi- 
tecture and painting, which latter he studied 
in Venice under Liberi, and then in Rome. 
On his return in 1682, he settled in Trent, 
built there the Crucifix Chapel in the Cathe- 
dral, and became a priest. Afterwards he 
painted a number of religious pictures, vis- 
ited Rome a second time, and is said to have 
stayed there nearly twenty years.—Meyer, 
Kiinst. Lex., 1. 217. 

ALBERTI, MICHELE, flourished at Flor- 
ence 2d half of 16th century. Florentine 
school, pupil of Daniele da Volterra. Did 
not belong to the Alberti family of Borgo 
S. Sepolcro. He painted in Rome frescos 
after drawings by his master, with whom 


21 


he seems to have been closely allied.— 
Meyer, Kiinst. Lex., i. 216; Vasari, ed. Mil., 
vii. 61. 

ALBERTINELLI (Bertinelli), 
OTTO, born in 
Florence, Oct. 
18, 1474, died 
there, Nov. 5, 
1515. Floren- 
tine school, son 
of Biagio di Bin- 
do and scholar 
of Cosimo Ko- 
selli, in whose 
studio he con- | 
tracted an inti- 
mate friendship with Fra Bartolommeo, of 
whom he became the associate and most suc- 
cessful imitator. They worked together from 
before 1490 (when both left Roselli’s studio), 
until 1499. Albertinelli’s Christ appearing 
to the Magdalen, Louvre, shows his first 
manner, under influence of Cosimo Roselli. 
After 1500 he completed the fresco of the 
Last Judgment in 8. M. Nuova, Florence, 
left unfinished (Oct., 1499) by Fra Bartolom- 
meo, whose continued influence after their 
separation is manifest in the famous Visita- 
tion, in the Uffizi. Other works by Alberti- 
nelli of high merit are a Holy Family (1503- 
6), Palazzo Pitti, Florence ; a fresco of the 
Crucifixion (1506), Florentine Certosa ; and a 
Madonna with Saints (1506), Louvre. These 
pictures belong to the best period of the 
painter, who afterwards wasted much time 
in experimenting on vehicles for oil paint- 
ing, and took many pupils, among whom 
were Bugiardini, Francia Bigio, Innocenzo 
da Imola, and Pontormo. In 1509, after a 
separation of nine years, Albertinelli again 
became the associate of Fra Bartolommeo, 
and traces of his hand are perceptible in 
the Frate’s altarpiece in S. Romano, Lucca, 
the lower part of his Assumption, Berlin, 
and in his Nativity, Saltocchio, near Lucca. 
Among his works of this period are: Ma- 
donna (1509), Fitzwilliam Museum, Cam- 
bridge; Annunciation (1510), Trinity (1510 ?), 


MARI- 


ALBRECHT 


and Madonna with Saints (1510 ?), Florence 
Academy. In 1512, the two painters again 
separated and divided the profits of their 
common workshop. The Adam and Eve and 
the Sacrifice of Abraham at Castle How- 
ard were painted by Albertinelli, after this 
year, during which he for a short time gave 
up painting and kept a tavern near the Porta 
San Gallo, Florence. Other works of his late 
period are the Annunciation (1513 ?), Munich 


Gallery, and a triptych, Poldi Collection, : 


Milan, which has been attributed both to 
Raphael and to Fra Bartolommeo. Alberti- 
nelli’s last work was the Marriage of St. Cath- 
arine at Viterbo, begun by the Frate for 
the church of 8S. Silvestro.—C. & C., Italy, 
il. 484; Meyer, Kiinst. Lex., 218; Vasari, 
ed. Mil., iv. 217; Lermolieff, 87, 227; Mar- 
chesi, i. 12; Liitbke, Gesch. ital. Mal., ii. 
Wak 

ALBRECHT, BALTHASAR AUGUSTIN, 
born in Berg on Lake Starnberg, Bavaria, in 
1687, died in Munich, Aug. 1, 1765. History 
and allegory painter, German school ; pupil 
of N. G. Stuber, studied in Venice and Rome, 
returned to Munich in 1719, and became 
court painter. His groups of children in 
the Schleissheim Gallery are very attractive. 
Many of his religious pictures are to be found 
in Bavarian churches. Works: Children 
playing, Vintage, Allegory of Painting, do. 
of Sculpture, portrait of Sculptor Straub, 
portrait of himself painting the Muses on 
Parnassus, Schleissheim Gallery. — Meyer, 
Kiinst. Lex., i. 234. 

ALBRIER, JOSEPH, born in Paris, Oct. 
4, 1791, died there in March, 1863. His- 
tory painter, pupil and follower of Reg- 
nault. Imitated Greuze’s pictures so closely 
as to deceive many amateurs. Works: Nar- 
cissus, Cyparissus changed into a Cypress, 
Amyntas delivering Sylvia (1822), Daphnis 
and Chloé, Louis XIV. and De la Valliére 
(1828), Two Scenes from Life of Frederic 
the Great, Meeting of the Chapter of the 
Golden Fleece, Versailles Gallery.—Meyer, 
Kunst. Lex., i, 236; Lejeune, i. 286, 


li, 5, 


ALCIMACHUS, Greek painter, probably 
about time of Alexander the Great. Painted 
portrait of Dioxyppus the athlete, after he had 
received a prize at Olympia.—Pliny, xxxv. 40 
[139]. 

ALCOTT, MAY (Mme. Ernest Nierker), 
born in Concord, Mass., in 1840, died in 
1879. Genre painter, studied in School of . 
Design, Boston, in Krug’s studio, Paris, and 
under Miller. Professional life spent in 
Boston, London, and Paris. Her copies in 
oil and water-colour of Turner’s pictures are 
given to the pupils of the South Kensington 
school, to work from. She also painted still- 
life subjects, and flower panels. 

ALDEGREVER, HEINRICH, born at 
Soest or Pa- 
derborn in 
1502, died 
probably in 
1558. Ger- 
man _ school; 
chiefly known 
as an engrav- 
er, and one 
of the most 
accomplished 
of the so- 
called ‘‘ Little 

| Masters.” His 
rare oil paintings are hard and dry, the flesh 


of a leathery brown hue. Works: Christ 

Magdalen Wittig (1541), Brunswick Museum; 

lery, Vienna; Anabaptist 

88; Meyer, Kiinst. Lex., i. 239 ; Brockhaus, 
8:5 

burg, Feb. 25,1844. Portrait and miniature 


crowned with Thorns (1529), Prague Gallery; 
Philip von Waldeck (1535), Breslau Gallery; 
Male portrait (1551), Berlin Museum; do. 
(1544), Liechtenstein Gal- 

David Joris, Basle Muse- IF \ Ie \ 
um.—Scott, Little Masters, . 

i. 363; Keane, Early Masters, 181; Allgem. 
d. Biog., i. 825. 

ALDENRATH, HEINRICH JACOB, born 
in Liibeck, Feb. 17, 1775, died in Ham- 
painter, German school ; pupil of Joh. Jak. 
Tischbein, and at Liibeck of Friedrich Karl 


22 


: 
b, 
3 
‘ 


ALENI 


Groger, his friend and associate, with whom 
he frequented the Berlin Academy ; studied 
in Dresden and Paris, and lived in Libeck, 
Kiel, Copenhagen, and Hamburg, where the 
two settled in 1814, after the conclusion of 
peace.—Meyer, Kinst. Lex., 1. 254. 
ALENI, TOMMASO, flourished in 1500- 
1515. Lombardo-Cremonese school. Some- 
times called Il Fadino. Several of his pict- 
ures exist: Madonna, Bignami Collection, 
Casal Maggiore ; Nativity (1515), Municipio, 
Cremona, a manifest though weak imitation 
of Perugino ; and St. Peter and St. Anthony, 
Calvaleabd Collection, Cremona.—C. & C., 
N. Italy, ii. 449 ; Meyer, Kiinst. Lex., 1. 266. 
ALESIO (Allecio), MATTEO PEREZ 
DE, born in Rome about 1547, died about 
1600 (?). Italo-Spanish school, called also 
Matteo da Leccio. Said to have formed him- 
self in the school of Michelangelo and after 
Salviati. 
before 1582, and settled in Seville, Spain, in 
1583. He at once gained reputation, and 
was extensively employed in painting for 
churches frescos of colossal size, the fond- 
ness for which was a peculiar feature of this 
artist. According to Baglione he afterwards 
went to the West Indies and, after having 


~ accumulated wealth, died there in poverty. 


The report of his return to Rome lacks foun- 
dation.— Meyer, Kiinst. Lex., i. 271; Ponz, 
Viage, ix. 25 ; Cean Bermudez, iv. 15. 

ALESSANDRO VERONESE. See Turchi, 
Alessandro. 

ALEXANDER OF ATHENS. Name in- 
scribed on one of four marble slabs, in Royal 
Museum at Naples, found at Resina on slope 
of Vesuvius. All decorated with outline 
drawings in red; the one bearing name of 
Alexander represents a group of five women 
whose names also are given.—Corp. Inscr. 
Gr., 5863. 

“ALEXANDER ENTERING BABYLON, 
Charles Lebrun, Louvre, Paris ; canvas, H. 14 
ft. 9 in. x 23 ft. Alexander, a sceptre in one 
hand, and a sword in the other, is stand- 
ing in a chariot drawn by two richly ca- 
parisoned elephants, forming part of a tri- 


Went to Malta, returned to Rome 


umphal procession ; in front, an officer gives 
orders to slaves bearing a golden vase on a 
litter ; in background, the walls and build- 
ings of Babylon, crowded with people. Series 
of History of Alexander. Engraved by G. 
Audran (1675).—Landon, Musée, x. Pl. 69 ; 
Filhol, ii. Pl. 91; Villot, Cat. Louvre. 

ALEXANDER AND DIOGENES, Sir 
E. Landseer, National Gallery, London; can- 
vas, H. 3 ft. Tin. x 4 ft. 8in. Eight dogs 
grouped to illustrate the interview at Corinth 
between Alexander and the Greek cynic, 
when the latter requested the conqueror te 
stand out of his sunshine. Royal Academy, 
1848 ; bequeathed by Jacob Bell in 1859. 
Engraved by Thos. Landseer.—Catalogue 
National Gallery ; Stephens, 91. 

ALEXANDER AND FAMILY OF DA- 
RIUS. See Darius, Family of. 

ALEXANDER THE GREAT, ancient 
picture. See Antiphilus, Apelles, Nicias, 
Philoxenus, Protogenes. 

ALEXANDER, HENRY, born in San 
Francisco, California, in 1860. Genre 
painter ; studied seven years in Munich un- 
der Loeffts and Lindenschmidt. Exhibited 
first in Munich in 1879. Studio in New 
York. Works: Sunday Morning (T. B. 
Clarke, N. Y.). 

ALEXANDER, HISTORY OF, Charles 
Lebrun, Louvre, Paris; five pictures, viz.: Pas- 
sage of the Granicus, Battle of Arbela, Tent of 
Darius, Alexander and Porus, Alexander en- 
tering Babylon. Ordered by Louis XIV. in 
1660 for reproduction in Gobelin tapestry; 
painted in 1661-68. ‘They were engraved by 
G. Audran, who also engraved, bate: Le 
Brun’s design, a sixth subject, Porus in Bat- 
tle, which was never painted.—Villot, Cata- 
logue Louvre. 

ALEXANDER AND PORUS, Charles 
Lebrun, Louvre, Paris; canvas, H. 15 ft. 5 
in. x 41 ft.4in. King Porus having been de- 
feated on the banks of the Hydaspes, India, 
was carried a prisoner before Alexander, 
who asked him how he wished to be treated. 
“Like a king,” replied Porus (Plutarch, 
Alex., lx.), Alexander on horseback, attended 


23 


ALEXANDER 


by his principal officers, extends his hand 
to Porus, who, wounded, is sustained by 
three soldiers; in background, the battle- 
field. Series of History of Alexander. En- 
graved by G. Audran (1678), D. Bertaux.— 
Landon, Musée, ix. Pl. 21-23; Filhol, iv. Pl. 
265; Villot, Catalogue Louvre. 

ALEXANDER AND ROXANA, MAR- 
RIAGE OF. See Aétion. 

ALEXANDER IN TENT OF DARIUS. 
See Darius, Tent of. 

ALEXANDER AT*TOMB OF ACHIL- 
LES, Raphael, Camera della Segnatura, Vati- 
can; picture in grisaille, under the Parnas- 
sus, at left. Alexander the Great, at right, 
orders a bearded man to place the poems of 
Homer in the sarcophagus, the lid of which is 
raised by a youth ; at each side, six soldiers. 
Painted in 1511. Engraved by Mare An- 
tonio, and others.—Passavant, 1. 119. 

ALEXEJEFF, FEODOR JAKOVLE- 
VICH, born in St. Petersburg in 1753, died 
there in 1824. Architecture and perspective 
painter; pupil of St. Petersburg Academy, 
by which he was sent to Italy. At first 
painted flowers and fruits, but in Venice, 
where he arrived in 1774, devoted himself 
to perspective painting under Gaspari and 
Giuseppe Moretti. After his return he was 
official painter of decorations in 1779-87. 
In 1795 he went to Southern Russia to 
paint scenes visited by Catharine II. on her 
tour in 1787. Under Paul I. he was em- 
ployed on decorative works. In 1803 he 
became professor at the Academy. Works 
in Moscow Museum.—Meyer, Kinst. Lex., 
1 287, 

ALEXEJEFF, NIKOLAI MICHAILO- 
VICH, born in 1815. History, genre, and 
portrait painter, pupil of Stupin. In 1836- 
40 he was at the head of the school at 
Arsames, Government of Nizhni-Novgorod, 
founded there by his relative Stupin in the 
beginning of the century. Works: Egyp- 
tians in Red Sea, Healing the Blind, Healing 
the Leper, Marriage at Cana, Christ rescu- 
ing Peter, Isaac Cathedral, St. Petersburg.— 
Meyer, Kinst. Lex., i. 288. 


ALFANI, DOMENICO, born in Perugia 
in 1483 (?), died after 1553. Umbrian school, 
son of Paris Pandari Alfani, goldsmith and 
architect ; pupil of Perugino at same time 
with Raphael, who became his intimate 
friend. Raphael invited him to Rome, but 
Domenico preferred to remain in Perugia, 
where he acted as Raphael’s agent, and was 
repaid by an occasional sketch. He became 
a registered master in Perugia in 1510. In 
1520 he legitimized his natural son Orazio 
and took him into partnership, after which 
they worked together. Domenico’s earliest 
production is a Holy Family (1510), Peru- 
gia Gallery, painted after a drawing by 
Raphael. His Madonna and Saints, dated 


1518, in the Collegio Gregoriano, Perugia, 
is thoroughly Raphaelesque. The Madonna 
with two Angels (1521), in the Cathedral of 
Citta della Pieve, is painted in the same 
style, but the Madonna and Saints of 1524, 
in the Perugia Gallery, shows a change 
from the Umbrian manner of his earlier 
works to the bold treatment of the later 
Florentines. This change is more marked 
in a Madonna and Saints of 1532 in S. Giuli- 
ano, Perugia. 
_In 1553 he 
LEAN painted, with 
Orazio, a Cruci- 
fixion, in S. Francesco, Perugia.—C. & C. 
Italy, ui. 364; Vasari, ed. Mil, iii. 622; 
Meyer, Kiinst. Lex., i, 291; Burckhardt, 
575; Ch. Blane, Ecole ombrienne. : 
ALFANI, ORAZIO, born in Perugia about 
1510, died in Rome in 1583. Umbrian 
school, son and pupil of Domenico Alfani, 
whom he frequently assisted. He was the 
first president of the Academy of Perugia, 
and many pictures there are attributed to 
him, such as a Nativity and a Holy Family. 
The one certain work by this artist is the 
Crucifixion with SS. Jerome and Apollonia 
which he assisted his father in painting 
(1553), or finished after his death.—C. & C., 
Italy, 11. 865; Vasari, ed. Le Mon., iii. 624; 
Ch. Blane, Ecole ombrienne ; Meyer, Kiinst. 
Lex., i. 293; Burckhardt, 575, 652. 


24 


Si pied i Ra 


ALFARO 


ALFARO Y GAMEZ, Don JUAN, born 
in 1640 in Cordova, died in Madrid in 1680. 
Spanish school ; pupil of Antonio del Cas- 
tillo and of Velasquez, whose portraits he 
learned to imitate. Also an engraver and 
writer, both of poetry and prose. Works: 
Assumption (1668), Museo Nacional; An- 
tonio da Solis, portrait, D. Valentin Car- 
derera, Madrid.—Curtis, 328; Stirling, 809 ; 
Meyer, Kiinst. Lex., i. 295. 

ALGERIAN FALCONER, Eugéne Fro- 
mentin, Albert Spencer, New York. In the 
foreground, an Arab horseman, riding at full 
gallop, holds a falcon perched upon his 
wrist, as high above his head as his arm will 
stretch. His whole action is full of intense 
energy, and the speed of his horse is shown 
by the sand whirling around him. In the 
background are indications of other mounted 
figures. 
Lionel. Several replicas. 

ALIBERTI, GIANCARLO, born at Asti, 
Piedmont, in 1680, died about 1740. One 
of the many skilful masters of the 18th 
century, who excelled in the execution 
of those extensive, quickly-painted fres- 
coes, termed macchinose by the Italians. 
His style was a mixture of Roman and 
Bolognese art, showing the influences of 
Maratta and the school of the Carrac- 
ci, with a leaning towards Correggio. 
He frescoed churches in Asti, Pavia, and 
other Italian cities.—Meyer, Kiinst. Lex., 1. 
312. 

ALIBRANDI, GIROLAMO, of Messina, 
born about 1470, died in 1524; but De 
Marzo thinks him the painter of an Epiph- 
any in the church of Venetico, Sicily, dated 
1532. Neapolitan school; studied several 
years in Venice and afterward in Milan with 
Leonardo da Vinci. Returned to Sicily in 
1514, and painted in Messina ; called some- 
times the Raphael of Messina. Most im- 
portant of his works is a Presentation in 
the Temple, dated 1519, in San Niccolo, 
Messina. Style a mixture’ of the Leonard- 
esque and Ferrarese.—Meyer, Kiinst. Lex., 


1812; ©. & C.; N. Italy, 1. 116. 


Salon, 1863. Etched by Flameng ; 


22 
or 


ALIENSE, born in Greek island of Milo 
in 1556 (?), died in Venice in 1629. Real 
name Antonio 
Vassilacchi. 
Venetian 
school ; pupil 
of Paolo Ver- 
onese, who 
dismissed 
him, Ridolfi 
says, On ac- 
count of jeal- 
ousy at his ‘ 
wonderful progress. Aliense then applied 
himself to the study of the works of Tin- 
toretto, and soon acquired a style which, 
for strength and boldness of design, and 
vigor of colouring approached the best pro- 
ductions of that master. He won a great 
reputation, was patronized by the doge 
and nobility of Venice, and was invited 
to their respective courts by Philip IL of 
Spain, and by Sigismund III of Poland. 
But he preferred to remain in Venice, where 
he lived in great state, and executed many 
works for public buildings and churches. 
In the Palazzo Ducale are his Adoration of 
the Magi, Coronation of Baldwin Emperor 
of Constantinople, the Doge Ordelasso Fali- 
ero at the Capture of Zara, and other large 
pictures ; and in S. Apostoli are his Sacri- 
fices of Abraham and Cain and Abel. Ex- 
amples of his work are also in S. Giovanni 
del Rialto, S. Giovanni del Tempio, 8. Leon- 
ardo, S. Giovanni Evangelista, 8. Zaccheria, 
S. Domenico a Castello, S. Paterniano, 8. 

é \ Chiara S. Procolo, 8. Vi- 
L'Aliensis ne tale, and the Frari, Ven- 
ice, and in 8. Pietro de’ Casinensi, Perugia. 
—Ch. Blane, Ecole vénitienne ; Burckhardt, 
745, 750, 753, 754; Sansovino, Venetia illus- 
trata, 271. 

ALIGNY, CLAUDE FRANCOIS THEO- 
DORE CARUELLE D’, born at Chaumes, 
Niavre, Feb. 6, 1798, died in Lyons, Feb. 25, 
1871. Landscape painter, pupil of Regnault 
and Watelet ; treated landscapes in the his- 
torical style, and attained great distinction 


ALIMPI 


ag a follower of the so-called classical school 
under the influence of Ingres. He made 
his studies chiefly after Italian scenery, vis- 
ited Greece and painted several views of the 
Acropolis and around Athens. His color 


wants truth and life, and his handling is 
hard and unsympathetic. Works: Daphnis 
and Chloé (1822); Murder of the Druids 
(1831); Prometheus (1837), Luxembourg’ 
Museum; Hay Harvest (1839) ; Landscape 
with praying Monk (1839), Rennes Museum ; 
View near Naples, and two other Landscapes, 
Nantes Museum; Defeat of Du Guesclin 
(1840), Versailles Museum ; Hercules fight- 
ing the Hydra (1842), Carcassone Museum ; 
Bacchus with Nymphs (1852), Bordeaux Mu- 
seum ; Christ at Emmaus (1837), Besangon 
Museum ; Good Samaritan, Amiens Museum. 
—Meyer, Kiinst. Lex., 1. 313; Kunstblatt 
(1835), 172 ; (1837), 190 ; (1839), 218; Cle- 
ment, Etudes, 383; Athenzeum (1871), i. 
342. 

ALIMPI (Olimpi), 11th century, born 
probably in Kiev, said to have died in 1114. 
The earliest Russian painter of altarpieces 
whose name has been handed down to us. 
He learned his art from the Byzantine 
painters, who about 1084 decorated the 
great church in the cave-monastery at Kiev. 
In 1087 he entered that monastery as a 
monk, and is revered as a saint in Russia; 
supernatural power is attributed to his pic- 
tures, with whose origin is connected many 
pious legends. Madonna, Uspenski Church, 
Moscow.—Meyer, Kiinst. Lex., i. 314. 

ALLADIO. See Macrino d’Alba. 

ALLAN, DAVID, born at Alloa, near 
Edinburgh, Feb. 13, 1744, died near Edin- 
burgh, Aug. 6, 1796. After studying at 
Glasgow in Foulis’ Academy, and in Rome 
(1764-79), where he gained a gold medal 
from the Academy of St. Luke for his Origin 
of Painting (1773), he returned to London 
with four humorous sketches of the Roman 
Carnival, which won for him the surname of 
the Scottish Hogarth. His fame depends, 
however, rather upon the genre pieces of 
Scottish life which he painted after he had 


settled at Edinburgh in 1792. His illustra- 
tions to some of Burns’ poems, and to Al- 
lan Ramsay’s Gentle Shepherd, which he 
engraved in aquatint, and his pictures of 
the Highland Dance, the Scotch Wedding, 
and the Repentance Stool, met with deserved 
success, and show him to be the worthy 
forerunner of Wilkie. His portraits, one of 
which, that of Sir William Hamilton (1775), 
now in the National Portrait Gallery, are 
chiefly remarkable for a strong, homely re- 
semblance. He was Master. of the Academy 
of Arts, Edinburgh, during the last ten 
years of his life.—Cunningham ; Redgrave ; 
Seguier. | 
ALLAN, Sir WILLIAM, born in Edin- 
burgh in 1782, 
died there, Feb. 
23, 1850. Ap- 
prenticed to a 
coach painter; 
student at Trus- 
tee’s Academy, 
~ Edinburgh, and 
at Royal Acad- 
emy, London, 
where he exhib- 
ited his Gipsy 
Boy in 1803. Failing to meet with success 
in London, he went, in 1805, to Russia, and 
spent ten years, much of the time in travel, 
visiting Circassia, Tartary, and Turkey. In 
1814 he returned home with many costume 
and landscape studies which he utilized in 
his pictures of Circassian Slaves, Prisoners 
on the Road to Siberia, and Tartar Robbers, 
the last now in the National Gallery, works 
in a measure attractive through local colour; 
but in historical subjects, which he next 
attempted, he was totally wanting. The 
Murder of Archbishop Sharp, the Death of 
the Regent Murray, and the Abdication of 
Mary Queen of Scots, all prove that he was 
a poor draughtsman and a weak colourist. 
Nevertheless, the last named of these pic- 
tures brought him 800 guineas (1825), and 
he received many honours. He became 
A. R. A. in 1825, R. A. in 1835, President 


26 


his 


at Dg i 


a ae ee 


id Te, 


Ff Te te eS ue Ae EL aon 


Oe TD ee aE ee ie, © 


Fornari, Fabriano. Other works : Madonna, 


-Lex., i. 334; Vasari, ed. Le Mon., iv. 161; 


ALLEGRAIN 


of the Royal Scottish Academy in 1838-50, 
limner to the Queen in Scotland in 1841, and 
in 1842 he was knighted. In the following 
year Sir William exhibited the Battle of 
Waterloo, now at Apsley House. In 1844 
he again went to St. Petersburg, to paint 
Peter the Great at Saardam, now in the 
Winter Palace. He was engaged at the 
time of his death upon a picture of the bat- 
tle of Bannockburn. His best portrait is 
that of Sir Walter Scott (1832), now in the 
National Portrait Gallery.—Sandby, ii. 152 ; 
Catalogue National Gallery; Art Journal 
(1849), 109 ; (1850), 100. 

ALLEGRAIN, ETIENNE, born in Paris 
in March, 1644, died there, April 1, 1786. 
French school ; was a good landscape paint- 
er in the style of Poussin and Francisque 
Millet ; became court painter to Louis XIV., 
and associate of the Academy in 1677. Also 
an engraver. Works: two landscapes in 
the Louvre ; seven landscapes at Versailles ; 
Moses in the Bulrushes, Hermitage ;_pict- 
ures in the museums of Dijon, Alencon, 
Tours, and Versailles.—Villot, Catalogue 
Louvre ; Lejeune, i. 354; iii. 291; Meyer, 
Kiinst. Lex., i. 332. 

ALLEGRETTO NUCCI, or DI NUZIO, 
born in Fabriano in 1306, died in 1385. 
Umbro-Florentine school; appears on regis- 
ter of guild of St. Luke, Florence, in 1346. 
Karliest picture bearing his name is the 
Madonna with Saints, dated 1365, in the 
Museo Cristiano of the Vatican. In 1368 
he finished the Madonna with Saints in the 
Sacristy of Macerata Cathedral, and in 1372 
the Madonna enthroned, collection of Signor 


and Crucifixion, Berlin Museum. His draw- 
ing is precise, his colouring clear and rosy, 
his figures slender, with pretty faces; in- 
deed, his style lacks the simplicity and dig- 
nity characteristic of Giotto and his follow- 
ers.—C. & C., Italy, ii. 193 ; Meyer, Kiinst. 


ed. Mil., iii. 16, 22 ; Burckhardt, 555 ; Cibo, 
Scuola Umbra (Rome, 1872), 50. 
ALLEGRI, ANTONIO. See Correggio. 


ALLEGRI, POMPONIO, born in Cor- 
reggio, Sept. 3, 1521, died in Parma about 
1593. Lombard school; son of Antonio 
Allegri, called Correggio, who died when 
Pomponio was twelve years old; education 
completed by his grandfather; but some 
think he was taught later by Rondani. Es- 
tablished himself in Parma and won a fair 
reputation. Decorated the Cappella del 
Popolo in the Duomo, Parma, in 1560-62, 
with frescos, some of which still exist. 
Several pictures by him in the Parma Acad- 
emy.—Vasari, ed. Mil., iv. 122; Lanzi, ii. 
396 ; Meyer, Kiinst. Lex., i. 481; Burck- 
hardt, 701. 

ALLEMAND, LOUIS HECTOR FRAN- 
COIS, born in Lyons, Aug. 5, 1809. Land- 
scape painter; brought up a merchant, 
he first turned his attention to art when 
thirty years old; studied nature around 
Lyons and in Dauphiné, and afterwards 
Ruisdael, Hobbema, and Claude Lorrain in 
the galleries of France, England, and Hol- 
land. Belongs to the new realistic school 
of landscape painting in France. Works: 
Wood-Border, Road near Pond, Sunset, 
Morning on the Rhone, Waterfall of the 
Gier, two landscapes, Lyons Museum ; do., 
Nimes Museum.—Meyer, Kinst. Lex., i. 
484. 

ALLEMAND, FRITZ and SIGMUND L’. 
See L’ Allemand. 

ALLEN, THOMAS, born in St. Louis, 
Missouri, in 1849. Pupil of Prof. Ducker 
in Diisseldorf, later studied three years in 
France. Exhibited first at National Acad- 
emy in 1876 ; also exhibitsin Paris. Elected 
A. N. A. in 1884. Studio in Boston. Works: 
Maplehurst at Noon (T. B. Clarke, N. Y.). 

ALLINGHAM, HELEN PATERSON, 
born near Burton-on-Trent, England, in 
1848. Genre painter, water colours; pupil 
of School of Design, Birmingham, and of 
Royal Academy, London, in 1867. In 1868 
sketched in Italy two months, and on return 
to England drew on wood for illustrated 
periodicals. Exhibited at Royal Academy 
in 1874, under name of Helen Paterson, 


ALLONGE 


The Milkmaid and Wait for Me. In August, 
1874, married Wm. Allingham, the poet. 
Associate of Society of Painters in Water 
Colours in 1875. Works: Young Custom- 
ers (1875) ; Spring Days (1876); The Old 
Men’s Gardens, Chelsea Hospital. She 
painted many water colour portraits of Car- 
lyle in his last years.—Portfolio (1878), 33 ; 
Art Journal (1882), 7. 

ALLONGE, AUGUSTE, born in Paris, 
March 19, 1833. Landscape painter, pupil 
of Ecole des Beaux Arts in 1852, and of 
L. Cogniet. First distinguished himself 
in 1855 by charcoal drawings of French 
scenes. His oils are rare, and less remark- 
able than his charcoals. Works: Solitude, 
Fountain of Sta. Barbara, Path to the Foun- 
tain, Brook near Creux, Marsh near Moulin 
Frou (1876) ; View in the Park of Plombiéres 
(1875) ; Autumn Morning (18738) ; The Sea 
(1874), Havre Museum ; Valley of Hyéres. 
His treatise on charcoal drawing, Le paysage 
au fusain, 54 plates, Goupil & Co., trans- 
lated by S. D. W. (N. Y., 1876), is justly 
celebrated.—Meyer, Kiinst. Lex., i. 494. 

ALLORI, AGNOLO, or ANGIOLO. See 
Bronzino. 

ALLORI, ALESSANDRO di Cristofano 
di Lorenzo, born 
in Florence, 
May 3, 1535, 
died there, Sept. 
22, 1607. Flor- 
entine school ; 
nephew, pupil, 
and mediocre 
imitator of An- 
gelo Bronzino, 
with whose sur- 
name he some- 
times signed his pictures. He published 
(1590) ‘‘ Dialogo sopra larte del designare 
le Figure,” with anatomical plates. Among 
his works are: Baptism of Christ (1560), 
Marriage at Cana, Joseph and Potiphar’s 
Wife, Martyrdom of St. Lawrence, St. Pe- 
ter Walking on the Waters, St. Francis 
Uffizi ; 


Bathsheba in the Bath, Portrait 


of a young man, Hermitage, St. Petersburg ; 
Bonaventura Family, Bianca Capello, Berlin 


Ales A lori 


Museum. —Ch. Blane, Ecole florentine ; 
Meyer, Kiinst. Lex., i. 503; Vasari, ed. Le 
Mon., viii. 34, ix. 100, xii. 302. 

ALLORI, CRISTOFANO, born in Flor- 
ence, Oct. 17, 
1577, died 
there in 1621. 
Florentine 
school; son 
and pupil of 
Alessandro 
Allori, and af- 
terward pupil 
of Santo di Ti- 
to, both schol- 
ars of Angelo 
Bronzino, 
whose style 
Cristofano at 
first followed, but abandoned for the new 
Florentine eclectic manner based on that of 
Correggio. He became one of the best ar- 
tists in Florence of his time, but his habits 
were irregular and he left but few pictures. 
He excelled in portrait painting. By far 
his best work is Judith, Palazzo Pitti, Flor- 
ence. Other examples: Hospitality of St. 
Julian, St. John in the Desert, Pitti; Ador- 
ation of the Magi, Infant Christ, Magdalen, 
Uffizi, Florence ; Isabella of Aragon implor- 
ing Charles VILL. for her Father.—Ch. Blane, 
Ecole florentine; Meyer, Kiinst. Lex., i. 508; 
Baldinucci, x. 259. 

ALLOU, GILLES, born in Paris in 1670, 
died there, Feb. 2, 1751. French school ; 
portrait painter ; became member of Acad- 
emy in 1711. His portraits, which rival 
those of Rigaud and Largilliére, found much 
and well-deserved favour. He was em- 


,|ployed in the Royal Carpet Factory at 
Beauvais. 


Works: portraits of Coypel and 


28 


a ee 


ALL SAINTS 


Coysevox, Versailles Museum ; portrait of 
Boullogne, Ecole des Beaux Arts.—Meyer, 
Kiinst. Lex., 1. 513; Jal, 29. 

ALL SAINTS. See Trinity, Adoration of. 

ALLSTON, WASHINGTON, born at 
Waccamaw, South , 
Carolina, Noy. 5, 
1779, died at Cam- 
bridgeport, Mas- 
sachusetts, July 9, 
1843. History and 
portrait painter, 
pupil in miniature 
painting of Ed- . 
ward Malbone;™ 
was graduated at 
Harvard College in 
1800, and in 1801 entered the schools of 
the Royal Academy, London, of which 
his countryman Benjamin West was then 
president. In 1804 he went, with Van- 
derlyn and C. R. Leslie, to Paris, to study 
in the Louvre, and thence to Rome, where 
he spent four years. After a visit to Amer- 
ica, during which he married a sister of 
Dr. Channing, he settled in London in 
1811, and in the following year won a prize 
of 200 guineas from the British Institution 
for his Dead Man revived by Touch of Eli- 
sha’s Bones, now in the Pennsylvania Acad- 
emy of Fine Arts, Philadelphia. This was 
followed by the Liberation of St. Peter by 
the Angel, which was taken to America in 
1859 and presented by Dr. Hooper in 1877 
to the Worcester (Mass.) Lunatic Asylum ; 
Jacob’s Dream, Petworth Gallery ; and Uriel 
in the Sun, Stafford House, for which the 
British Institution awarded him a prize of 
150 guineas. The first sketch of Belshazzar’s 
Feast was painted about the same time. 
He visited Paris again in 1817, was elected 
an A. R. A. in 1818, and in the same year 
returned to America, and taking a studio in 
Boston began to work on his Elijah and 
Belshazzar’s Feast. But, afflicted by the 
death of his wife and by ill-health from 
overwork, and removed from the art atmos- 
phere to which he had been accustomed, he 


painted irregularly and produced but few 
other pictures comparable to his early per- 
formances. In 1830 he married again and 
removed to Cambridgeport, where he re- 
sided the remainder of his life, Among his 
other works are: Jeremiah (Yale College) ; 
Witch of Endor (W. H. Gardiner), Miriam 
(F. Sears), Beatrice (Pres. Charles Eliot), 
Rosalie (N. Appleton), Amy Robsart (I. A. 
Lowell), The Valentine (Mrs. Geo. Ticknor), 
Boston ; Spalatro, Bride, Spanish Girl, Tus- 
can Girl, Evening Hymn, Lorenzo and Jes- 
sica, Flight of Florimel, Roman Lady, The 
Sisters. Allston also painted landscapes and 
portraits, among the latter being Benj. West 
(Boston Athenzeum), and Coleridge (Na- 
tional Portrait Gallery, London), and pub- 
lished volumes of poems and prose.—Memo- 
rial Hist. Boston, iv. 392; Sandby, i. 399 ; 
Tuckerman, 136 ; Knickerbocker Mag., xiv. 
163, xxiv. 205 ; N. Amer. Rev., 1. 358 ; Dem. 
Rev., xiii. 431; Atlantic Mag., xv. 129; 
Meyer, Kiinst. Lex., i. 518 ; Ware, Lectures 
on (Boston, 1852). 

ALMA PARENS, William Adolphe Bou- 
guereau, Geo. R. Blanchard, New York; 
canvas, H. 8 ft. 8 in. x5 ft. 9in. A female 
figure seated, draped, with nine children, 
nude, grouped around her ; the one at left 
is the infant St. John. Paris Salon, 1883; 
sold for $20,000.—Art Journal (1883), 331. 

ALMA-TADEMA, LAURENZ, born at 
Dronryp, Fries- 
land, Jan. 8, 1836. 
Educated at the 
gymnasium of 
Leeuwarden, 
where he con- 
ceived a passion 
for Egyptian and 
Greco-Roman ar- 
cheology, which 
has had a great in- 
fluence on his art 
life; student of 
art in Antwerp Academy in 1852; subse- 
quently pupil of Baron Henry Leys. Exhib- 
ited in Antwerp, 1861, Education of the 


29 


ALMA-TADEMA 


Children of Clotilda; and in Amsterdam, 
1862, Venantius Fortunatus at Radagonde, 
which was awarded a gold medal. In 1865 
he sent to London his Egyptian Games, 
which was followed by several others, among 
them Roman Dance (1866), and Phidias and 
the Elgin Marbles (1868). In 1869 he 
exhibited at the Royal Academy, A Ro- 
man Amateur (1868), and Pyrrhic Dance 
(1869), and in 1870 The Convalescent, Un 
Jongleur, and a second Roman Amateur. 
In this latter year he married Miss Laura 
Epps, an English lady, and removed from 
Brussels to London, which he has since 
made hishome. He has won many honours, 
is a knight of many orders, and is a member 
of the Royal Academies of Amsterdam 
(1862), Munich (1871), Berlin (1874), Lon- 
don (A. R. A., 1876 ; R. A., 1879), Stockholm 
(1878), Vienna (1878), and Madrid (1879). 
Medals: Paris, 1864; 2d class, 1867; Ist 
class, 1878; L. of Honour, 1873; officer, 
1878. Other works: How they Amused 
Themselvesin Egypt 3000 Yearsago (1863) ; 
Fredegonda and Pretextatus (1864) ; Egyp- 
tian Game, Catullus at Lesbia’s, Soldier of 
Marathon (1865); Entrance to a Roman 
Theatre, Agrippina visiting the Ashes of 
Germanicus, Roman Dance (1866); The 
Mummy, Tarquinius Superbus (1867) ; The 
Siesta, Flowers, Flower Market (1868); A 
Negro, Wine Shop (1869) ; Vintage Festival 
(1870) ; A Roman Emperor, Une Féte Intime, 
Greek Pottery (1871) ; Reproaches, Mummy 
in Roman Period, Improvisatore, A Halt, 
Death of the First Born, Greek Wine (1872) ; 
The Dinner, The Siesta, The Cherries, Fish- 
ing (1873); Joseph Overseer of Pharaoh’s 
Granaries, Sculpture Gallery, Picture Gal- 
lery, Autumn, Good Friends, On the Steps 
of the Capitol, Water Pets (1874); After 
the Dance, Hide and Seek, Audience at 
Agrippa’s, Cleopatra (1876) ; Four Seasons, 
Between Hope and Fear, The Sculptor 
(1877); Sculptor’s Model, Love Missile, 
Bacchante, Architecture, Sculpture, Paint- 
ing (1877); Cherries (1878) ; Hearty Wel- 
come, Down to the fiver, Pomona Festival, 


On the Way to the Temple (1879) ; Frede- 
gonda, Spring Festival, Question, Garden 
God, Pastoral (1880) ; Sappho, In the Tep- 
idarium, Ave Cesar, Io Saturnalia (1881) ; 
Torch Dance, An Audience, Early Affections, 
Barnay as Mare Antony (1882); Venus and 
Mars, An Oleander, Antony and Cleopatra, 
Xanthe and Phaon, “['wixt Venus and Bac- 
chus (1883).—Portfolio (1874), 109 ; (1878), 
145 ; Art Journal (1875), 9; (1883), 33, 65 ; 
Univ. Mag. (1879), 706 ; Blackwood (March, 
1883), 401 ; Illustr. Zeitg. (1878), i. 113. 

ALMA-TADEMA, Mrs. LAURA, wife of 
Laurenz Alma-Tadema. Figure painter ; 
exhibits at Royal Academy, and at Grosvenor 
Gallery, London. Works: Blue Stocking 
(1877) ; Daffodowndilly (1878) ; Hunt the 
Slipper, A Good Book (1880); Winter, Sis- 
ters (1881) ; Asleep, Granny’s Needle (1882) ; 
May I come In (1881).—Art Journal (1883), 
345. 

ALMEH, DANCE OF THE, Jean Léon 
Géréme, John Hoey, New York. The dancer, 
her garments slipping off from her body, is 
posturing before a group of soldiers, seated 
at left in a Cairo tavern: at right, three 
musicians. Photogravure in Art Treasures 
of America, 11. 80. 

ALOISI, BALDASSARE, called Il Gal- 
anino, born at Bologna in 1578, died at 
Rome in 1688. Bolognese school ; history 
and portrait painter; pupil of the Carracci. 


Went to Rome in time of Urban VIII. and 


painted many portraits of illustrious persons. 
Works: Visitation, La Carita, Bologna ; 
Madonna with SS. John Baptist and Fran- 


cis, S. Paolo in Monte, ib. ; Coronation of © 


Virgin, Gest e Maria, Rome. 

ALOPHE, ALEXANDRE, born in Paris, 
June 6, 1812, died there in August, 1883. 
Genre and portrait painter, pupil of Roque- 
plan and of Delaroche. Medals: 3d class, 
1844; 2d class, 1847. Works: A Page, 
Evening Lull (1869); In the Woods 


(1870) ; In the Open Fields (1877) ; Read- _ 


ing of Faublas, Discouragement (1879).— 
Meyer, Kiinst. Lex., i. 521. 
ALOVIGI, ANDREA. See Jngegno. 


30 


: 


ALSLOOT 


ALSLOOT, DENIS VAN, born before 
1628. Excellent landscape painter, Flem- 
ish school ; pictures very rare. Court painter 
to Archduke Albert, Governor of the Neth- 
erlands, about 1599. Works: Landscape (with 
figures by H. de Clerck), Vienna Museum ; 
Masquerade on the Ice, two pictures of Pro- 
cessions of Guilds in Brussels, Madrid Mu- 
seum; Castle and Park of Mariemont (1620), 
Brussels Museum; Abbey of La Cambre 
(1609), Nantes Museum.—-Meyer, Kiinst. Lex., 
i. 527; Viardot, 107 ; Michiels, Rubens, 347. 

ALT, JAKOB, born in Frankfort-on-the- 
Main, Sept. 17, 1789, died in Vienna, Sept. 
30, 1872. Landscape painter, studied at 
Frankfort and, after 1811, in Vienna. 
Painted scenes in the Austrian Alps, on 
the Danube, in Upper Italy, which he vis- 
ited in 1828 and 1833, and Rome. Works: 
Isle of S. Giorgio Maggiore (1834), Vienna 
Museum ; Grave Yard at Hallstadt; Garg- 
nano on Lake Garda.—Meyer, Kiinst. 
Lex., i. 5382; Kunst-Chronik, viii. 26, xi. 
345 ; Allgem. d. Biogr., 1. 355. 

ALT, RUDOLF, born in Vienna, Aug. 28, 
1812. Landscape and architecture painter, 
chiefly in water colours; son and pupil of 
Jakob Alt and student at Vienna Academy. 
Has travelled extensively in Austria, Ger- 
many, Italy, Switzerland, and the Crimea. 
Is a member of the Vienna Academy. His 
few oil paintings are inferior to his water 
colours, which command high prices in 
Vienna. Works in oil: St. Stephen’s 
Church (1832), Giardini pubblici in Venice 
(1834), Vienna Museum; Gate of Prague, 
Venice, Well in Nuremberg. Water col- 
ours: Cloister Yard of Monreale, Harbour 
of Palermo, Arch of Titus in Rome, Castle 
Hollenegg, Well in Nuremberg, Bird’s-Kye 
View of Danube, Old and New Vienna, 
Orvieto Cathedral, Milan Cathedral, Campo 
Vaccino, S. Marco in Venice, Coast near 
Naples, Diirrenstein, Temple of Vesta. 
His brother Franz (born 1821) went through 
same course of study and paints similar sub- 
jects.—Meyer, Kiinst. Lex., i. 533; Miller, 
11; Wurzbach, 1. 15. 


ALT, THEODOR, born at Dohlau, Bava- 
ria, June 23, 1846. Genre painter, pupil of 
Kreling in Nuremberg, and of the Munich 
Academy. His pictures of subjects from 
modern life show great talent for composi- 
tion, feeling for nature, and harmonious 
colour.—Meyer, Kiinst. Lex., i. 535. 

ALTAMURA, SAVERIO, born at Foggia, 
Italy, in 1824. History painter, pupil of 
the Naples Academy, and one of the most 
distinguished Italian masters of modern 
times ; has painted since 1850 mostly in 
Florence ; in 1862 visited France and Eng- 
land. Favourite subjects, historical genre. 
Studio in Naples. Works: Origin of the 
Guelphs and Ghibellines in Florence ; Ma- 
rius Conqueror of the Cimbri (1861), Senate 
Chamber, Florence ; Old Hatred and New 
Love ; Madonna Enthroned ; Tasso in Sor- 
rento; Salvator Rosa among the Robbers ; 
Doubt and Faith.— Meyer, Kunst. Lex., 
1. 535. 

ALTARPIECE OF BRESCIA. See Bres- 
cla. 

ALTDORFER, ALBRECHT, born be- | 
fore 1480, died at Ratisbon, Feb. 12 or 
14, 1538. History and landscape painter, 
strongly influenced by Diirer, possibly his 
pupil ; came from Amberg to Ratisbon, was 
admitted to burgher rights in 1505, and 
afterwards elected alderman and city archi- 
tect. One of the most remarkable masters 
of the Old German school. Works: Birth 
of Mary, Altarpiece with Christ on the Cross 
(1517), Augsburg Gallery ; Pieta, Madonna 
in Glory, Susanna at the Bath (1526), Land- 
scape with St. George (1510), Battle of Ar- 
bela (1529), Pinakothek, Munich ; Altarpiece 
with SS. Narcissus and Matthew, Univer- 
sity, ib.; Christ on the Cross (1506), Burg, 
Nuremberg ; St. Stephen before the Judge, 
Martyrdom of St. Stephen, St Quirinus 
lifted out of the Water, St. Jerome in 
Prayer, Maurice Chapel, ib.; SS. Francis 
and Jerome (1507), Landscape with Satyr 
Family (1507), Repose in Egypt (1510), 
Landscape with Illustration of Proverb 
(1531), Berlin Museum; Madonna (1515), 


31 


ALTICHIERO 


Vienna Museum ; do. (1511), Liechtenstein 
Gallery, ib.; Christ with Mary and St. John, 
Abbey of 
) er-Austria. 
Mee orfer si —Allgem.d. 
Biog., 1.356 ; 

Lex., i. 5386; Scott, Little Masters, 24. 
ALTICHIERO DA ZEVIO, born at Zevio, 
near Verona, about middle of 14th cen- 
Padua. Vasari says he painted the siege of 
Jerusalem by Titus, after Josephus, in the 
hall of the palace at Verona, and other great 
in the Cappella 8S. Felice, S. Antonio, Padua, 
which shows a strong Giottesque influence, 
and after Giotto’s frescos in the Arena Chapel 
painted in N. Italy during the 14th century 
(C. & C.). In this work he is said to have 
had an assistant, one Jacopo Avanzi, with 
This painter was a Paduan, a Veronese, or a 
Bolognese ; but if the latter, he is not to be 
confounded with Jacobus Paoli of Bologna, 
say, are evidently not by the painter of the 
S. Giorgio frescos. Other frescos in the 
Capella di §S. Giorgio are ascribed by 
C. & C. say they are identical in execution 
with those of 8. Felice.—C. & C., Italy, ii. 
232; Meyer, Kinst. Lex., i. 555; Vasari, 
Forster, Die Wandgemilde der St. Georgen- 
kapelle za Padua (Berlin, 1841); W. & W., 
i. 480 ; L’Anonimo Morelli (Bassano, 1800), 5. 
flourished at Florence about and after 1550. 
Family name Papi; pupil of Pontormo and 
of Angiolo Bronzino. Is known principally 
than 280) which he painted for Cosimo I. 
of Tuscany ; was of ordinary ability.—Va- 
sari, ed. Mil., vii. 608 ; Meyer, Kiinst. Lex., 


Molk, Neth- 
Keane, Early Masters, 164; Meyer, Kiinst. 
tury. Worked alternately in Verona and 
works. He also executed a series of frescos 
are the most important works of their kind 
whom his name is always coupled by Vasari. 
whose crucifixions, Crowe and Cavalcaselle 
Forster to the same Jacopo Avanzi, but 
ed. Le Mon., vi. 86; Burckhardt; 519; 
ALTISSIMO, CRISTOFANO DELL’, 
through the collection of portraits (more 
i. 557, 


ALTMANN, ANTON, the younger, born 
in Vienna, June 4, 1808. Landscape painter ; 
son of Anton, landscape painter (1777— 
1818); pupil of the Vienna Academy, 
under Moéssner. His pictures are good 
in choice of subject, carefully executed, 
and show a fine feeling for nature. Works: 
Cloister in Bohemia (1838), View in Styria, 
(1840), Wood Landscape (1840), Landscape 
with large ferns (1846), Swamp (1846), Eve- 
ning Landscape (1847), Well near Wood- 
land, Mountain Mill (1851), Wood Land- 
scape (1851), After the Rain (1852), Vienna 
Museum.—Andresen, ii. 187; Meyer, Kinst. 
Lex., i. 558 ; Wurzbach, i. 19. 

ALTOBELLO MELONE. See Melone. 

ALTOMANTE, MARTIN, born in Na- 
ples, May 8, 1657, died at Stift Heiligen- 
kreuz, Lower Austria, Sept. 14,1745. Real 
name Hohenberg, of German parentage. 
History painter, pupil in Rome of Bacciccio, 
then of Carlo Maratta and of Academy ; 
went in 1684 to Warsaw and became court- . 
painter to King John Sobieski, after whose 
death in 1698 he left Poland for Germany, 
and in 1703 went to Vienna, was made mem- 
ber of the Academy in 1707, and settled at 
Linz, Upper Austria, in 1720 ; his last years 
he spent as a lay brother at Stift Heiligen- 
kreuz. Works: Raising of Siege of Vienna, 
Principal Assault of the Turks on the Léwel 
Bastion, The Polish Diet (these three prob- 
ably in Warsaw Museum) ; St. Martin, and 
others, Chodkjewicz Gallery, Lemberg ; Su- 
sanna at the Bath (1709), Vienna Museum; 
St. John’s Altar and Ceiling in Sacristy, 
St. Stephen’s, ib.; Holy Family, St. Michael, 
St. Peter's, ib.; Raising of Youth at Nain, St. 
Charles Borromeo’s, ib.— Meyer, Kiinst. 
Lex., 1. 562 ; Wurzbach, i. 19. 

ALTOVITI, BINDO, portrait, Raphael, 
Munich Gallery ; wood, H. 1 ft. 10 in. x 1 
ft. 4 in. Half length of a youth about 
twenty years old, with long fair hair and a 
black cap, looking over his shoulder at the 
spectator ; his hand on his breast. Erro- 
neously considered by Rumohr, Bottari, 
and others, a portrait of Raphael himself. 


o2 


Se a ea teats 


ALUNNO 


Painted about 1512-13; formerly in Casa 
Altoviti, Florence, and later in Palazzo Al- 
toviti, Rome, whence obtained in 1808 for 
Crown Prince Louis of Bavaria for 3,500 se- 
quins. Engraved by R. Morghen as Ra- 
phael.—Vasari, ed. Mil., iv. 351; Rumohr, 
Ital. Forsch., iii. 109 ; Passavant, u. 117; 
Mintz, 290, 387 ; Gruyer, Raphael, Peintre 
de Portraits, i. 5, 17. 

ALUNNO, NICCOLO, born at Foligno 
in 1430? died Aug. 1502 ; Umbrian school; 
son of a painter at Foligno, and pupil of 
Bartolommeo di Tommaso, through whose 
assistant, Benozzo Gozzoli, the scholar of Fra 
Angelico, his early style was affected by that 
Florentine influence which they brought to 
bear upon Umbria. Later his pictures yive 
evidence of a North Italian influence, shown 
in the increased action of his figures, and 
their somewhat exaggerated facial expres- 
sion. In the Madonna de’ Consoli (1458), 
S. Francesco, Deruta, his drawing is stiff 
and defective, the colour a prevailing reddish 
brown ; but the sentiment is deep, and the 
naive Umbrian feeling marked. Other works 
in Alunno’s first manner are: Banner in 8. 
Antonio Abate, Deruta, in which the St. An- 
thony on one side recalls Gozzoli, and the 
crucifixion on the other Bartolommeo di 
Tommaso ; Madonna and Angels, Duomo, 
Assisi, painted before 1465, to which year 
belong parts of an altarpiece, Brera, Milan ; 
Annunciation (1466), Perugia Gallery, show- 
ing traces of Gozzoli’s influence which con- 
tinued up to about 1468. After 1471 that 
of Crivelli predominates, as in the altarpiece, 
Duomo, Gualdo; Annunciation, Bologna 
Gallery ; Birth and Coronation of the Vir- 
gin (1483), Duomo, Nocera. The altarpiece 
in 8. Niccold, Foligno (1492), of which the 
Predella is in the Louvre, Paris, may be con- 
sidered as Alunno’s masterpiece in his sec- 


ond, eclectic style. 
7 HOPUS NICOLAI. 
One of ius latest EULGINATIS 1499. 


works is the Ma- 
donna with Angels and Saints (1499) in a 
Church at La Bastia, between Assisi and 
Perugia. — Vasari, ed. Mil, iii. 508 ; Rossi, 


Pittori di Foligno (Perugia, 1872) ; Meyer, 
Kinst. ex., 1. 565; Rosini, 11. 34, 162; C. 
& C., Italy, ui. 125 ; Burckhardt, 556, 557 ; 
Miller, 19; Ch. Blanc, Ecole ombrienne ; 
Liibke, Gesch. ital. Mal., 1. 242. 

ALVAREZ, Don LUIS, born in Spain, 
contemporary. Genre painter; pupil of 
Madrazo, the elder. Studio in Rome. 
Works: Spanish Birthday Festival, Mrs. E. 
D. Morgan, New York ; Flirtation in a Gon- 
dola, Dressing for Ball, Selling Tickets for 
Charity Bull-Fight, J. P. Morgan, ib.; An- 
cient Coquette, Modern Coquette, R. C. 
Hawkins, ib.; Cardinal’s Reception, Toilette 
of Duchess de Berri, H. Hilton, ib.; Jeal- 
ousy, Mrs. A. T. Stewart, ib.; Hide and 
Seek, J. H. Stebbins, ib.; Flower-Shop, 
Samuel Hawk Collection, ib.; Halberdier, 
Obliging Suitor, R. L. Stuart Collection, 
ib.; Inopportune Visitor, R. G. Dun, 1b.; 
Our Forefathers’ Diversions, M. Graham, ib.; 
Distribution of Prizes in Palazzo Borghese 
(1885), M. Munn, ib.; Spinners, A. J. An- 
telo, Philadelphia; Concert, J. D. Lankenau, 
Philadelphia; Amateurs, C. H. Wolff, Phila- 
delphia ; Preparing for Masquerade, W. B. 
Bement, Philadelphia ; Rousseau and Ladies 
picking Cherries, 8. A. Coale, Jr., St. Louis ; 
Marriage of Pauline Bonaparte and Prince 
Borghese, H. L. Dousman, St. Louis ; Intro- 
duction of the Betrothed, Ch. Parsons, St. 
Louis ; Flirtation, D. Catlin, St. Louis ; New 
Baby, J. A. Scudder, St. Louis ; Carnival in 
the Prado in 18th Century (1884) ;—La I- 
lustracion (1884), i. 131; (1885), 1. 6. 

AMADEI, STEFANO, born in Perugia, 
Italy, Jan. 20, 1589, died there, Jan. 20, 
1644. First devoted to science, he conceived 
a passion for painting while studying per- 
spective with Giulio C. Angeli. He found- 
ed an art school in Perugia, and painted 
many altarpieces ; acquired a certain reputa- 
tion as a portrait painter, which procured 
him numerous orders in Rome.—Meyer, 
Kinst. Lex., i. 575; Passavant, Raphael, 
ii. 61. 

AMALTEO, POMPONIO, born in SanVito, 
Friuli, in 1505, died there in 1584, Venetian 


33 


AMATO 


school; pupil and son-in-law of Pordenone, 
whose style he imitated and to whom some 
of his productions have been ascribed. Most 
successful in fresco; painted few easel pieces. 
Among the most important of his works is 
a series of frescos representing the history 
of the Virgin, in the choir of the church of 
the hospital at San Vito, for which he re- 
ceived a patent of nobility in 1535. On the 
same large scale are the frescos in 8S. M. delle 
Grazie at Prodolone (1542), the Duomo of 
Valvasone (1544), the church of Baseglia 
(1544-50), the church of Lestans 
; .. (1548), and others.—C. & C., N. 
Friufensts te ii, 304; Meyer, Kunst, 
Secit 1578. Lex., i. 587; Vasari, ed. Mil, v. 
119; Joppi, Doc. ined. sulla Vita. . . Pomp. 
Amalteo (Udine, 1869). 

AMATO, GIOVANNI ANTONIO D’, the 
elder, born in Naples in 1475, died there in 
1555. Neapolitan school ; pupil of Silvestro 
de’ Buoni; studied later works of Perugino, 
and painted both in oil and in fresco. Works: 
St. Michael and other Archangels, SS. Sever- 
ino e Sosia, Naples; Madonna with Angels, 
Naples Museum.— Meyer, Kiinst. Lex., i. 
595. 

AMATO, GIOVANNI ANTONIO D’, the 
younger, born in Naples in 1535, died there 
in 1598. Neapolitan school; nephew and 
pupil of the preceding, and husband of Ma- 
riagnola Criscuolo, who painted some Ma- 
donnas in the Neapolitan churches. After 
his uncle’s death he studied under Giov. B. 
Lama, and besides him, took Francesco 
Curia and Ippolito Borghese for models. 
Works: S. Maria Visitapoveri (1571), Ma- 
donna Enthroned, Naples Museum ; Coro- 
nation of the Virgin, Church of Monte de’ Po- 
veri ; others in 8. Patricio, S. Pietro ad Aram, 
5. Giuseppe, S. Domenico Maggiore, Sta. 
Margarita, S. Niccold alla Dogana, and 
vhiesa nuova, Naples.—Meyer, Kinst. Lex., 
i. 596. 

AMAURY-DUVAL, EUGENE EMMAN- 
UEL, born in Montrouge (Seine), April 16, 
1808. History and portrait painter; son of 
the diplomat archzologist Amaury ; pupil 


Pomponi 


of Ingres. Studied the antique, the Flor- 
entine quattrocentists, and Raphael. After 
a visit to the Morea in 1829, he exhibited, 
from 1833, a series of portraits, which es- 
tablished his reputation, and in 1839-40 
and 1848-53 executed several large wall 
paintings at St. Merry, St. Germain ]’Auxer- 
rois, and St. Germain en Laye (1848-1853), 
in the traditional style of the older Italian 
masters. Medals: 2d class, 1838 ; 1st class, 
1839; L. of Honour, 1845; officer, 1865. 
Works: Portraits of Alex. Duval (1848), 
the actor Geoffroy, Rachel (1855) ; Infant 
Christ asleep (1857), Head of Young Girl 
(1859), Birth of Venus (1863), Lille Museum; 
Young Girl with Doll (1864) ; Daphnis and 
Chloe (1865); Psyche (1867) ; Study of a 
Child (1864), Luxembourg Museum, Paris. 
—Meyer, Kinst. Lex., i. 597; Kunstblatt 
(1841), 146; (1846), 138; Meyer, Gesch., 
353, 380 ; Miller, 11. 

AMAZONS, BATTLE OF (Amazonen- 
schlacht), Rubens, Munich Gallery; wood, H. 
3 ft. 8 in. x 4 ft. 11 in. Victory of Theseus 
over Thalestris, Queen of the Amazons, on 
the bridge over the Thermodon. Theseus, 
mounted upon a rearing horse, closely at- 
tended by his followers, is about to cast his 
javelin at the Amazons, who are turning in — 
flight at the other end of the bridge ; many 
of them are falling from the bridge, or 
struggling in the stream below. Subject 
supposed to have been borrowed from Titi- 
an’s Battle of Cadore. Painted about 1619 
for M. van der Gheest.— Kugler (Crowe), ii. 
285 (Pl); Cat. Munich Gallery. 

AMBERG, WILHELM, born in Berlin, 
Feb. 25, 1822. Genre painter, pupil of 
Herbig, the Berlin Academy, and of Karl 
Begas. In 1844-45 he studied under Léon 
Cogniet in Paris, after which he visited Italy. 
After his return in 1847 he at first painted 
mythological subjects and portraits, then 
genre, both serious and humorous, and, more 
recently, landscapes with figures. Subjects 
attractive, treatment ingenious, and colour 
always effective. Since 1869, member of the 
Berlin Academy. Works: Consolation in — 


34 


AMBERGER 


Music (1860); Servant Maid Smoking, Ser- 
vant Maid Drinking (1863) ; Ophelia, The 
Widow’s Comfort (1878) ; Reading Werther 
(1870), National Gallery, Berlin; replica, 
Raczynski Gallery, ib.—Meyer, Kiinst. Lex., 
i. 599; Miiller, 12; Rosenberg, Berlin Ma- 
lersch., 71. 

AMBERGER, CHRISTOPH, born in 
Amberg, Ulm or Nuremberg, about 1490 or 
1500, died in Augsburg in 1561 or 1562. 


German school; portrait painter, perhaps 


Madonna Enthroned, St. Roch in a Landscape, 
Pinakothek, Munich ; Hieronymus Sulczer 
(1542), Gotha Gallery ; Portrait of Old Man, 
Worlitz Gallery; Portrait of Charles V. 
(1532), Sebastian Minster, Georg von 
Freundsberg, St. Augustine, Berlin Museum; 
Duke Louis of Bavaria (1540), Martin Weiss 
(1544), Male and Female portrait (errone- 
ously called Thomas Morus and Wife), Male 
Bust-portrait, Vienna Museum ; do. (attrib- 
uted to Holbein), Uffizi, Florence; Portrait 


“1distinas 


Wa: 


)) 
AK! 
A vy 
in) y 
“| 
\ 7 
iD 
H 


Battle of the Amazons, Rubens, Munich Gallery. 


pupil of Hans Burgkmair, and one of the best 
masters of the sixteenth century. Received 
into Augsburg guild in 1530, and appears 
there until 1560; was in Italy about 1535. 
Works: Portraits of Wm. Morz and Afra 
Rehm (1583), of Konrad Peutinger and Wife 
(1543), Maximilians Museum, Augsburg ; 
Altar with Madonna (1554), Cathedral, ib. ; 
Christ with the Wise and Foolish Virgins 
(1560), Transfiguration of Christ, St. Ann’s, 
ib.; Afra Rehm and Male Portrait (1533), 
Archeological Museum, Stuttgart ; Trinity, 


of Charles V. (1532, attributed to Holbein), 
Siena Academy; Matthaus Schwartz and 
Wife (1542), formerly in Baron von Friesen’s 
Collection, Dresden.— Allgem. d. Biog., 1. 
390 ; Kunst-Chronik, ix. 190 ; Meyer, Kiinst. 
Lex., i. 600; W. & W., i. 452. 
AMBROGIO DA FOSSANO. See Bor- 


gognone. 
AMBROGIO DI LORENZO. See Lo- 
renzettt. 
AMBROGIO DA SIENNA. See Loren- 
zettt. 


35 


AMBROSE 


AMBROSE, ST., APOTHEOSIS OF, 


Luigi Vivarini, 8. M. de’ Frari, Venice ; wood. 


| Ambrose, in canonicals, with mitre and cro- 
zier, with six attendants, meets the Emperor, 
who is followed by three offi- 
cers, at the entrance, and 
presses him back with his 
hand. Eleven figures, nearly 
all full length. — Kett, 49; 
Gal. de Vienne. 3 
AMERIGHI, MICHEL- 
ANGELO. See Caravaggio. 
AMERLING, FRIED- 
RICH, born in Vienna, April 
14, 1803. Portrait and fig- 
ure painter, son of a poor ar- 
tisan, pupil of Vienna Acad- 
emy under Redl. By illumin- 
ating maps and engravings 
gained enough to enable him 
to study in London under Sir 
Thomas Lawrence for nine 
months, and in Paris under 
Horace Vernet. A first prize 
given him at Vienna for two 
historical paintings enabled — 
him, in 1831, to go to Venice 
and Rome. After his re- 


turn he entered on a success- 


St. Ambrose on a throne between SS. George, 
Vitale, Gregory, Augustine and a monk on 
one side; SS, John Baptist, Gervase, and 
Protase on the other; SS. Sebastian and 
Jerome in foreground ; in lunette, Corona- 
tion of the Virgin. Begun in 1503; finished 
by Basaiti after Luigi’s death and placed on 
altar in the Cappella Milanesi. Has been 
wrongly assigned to Bart. Vivarinii—C. & 
C., N. Italy, i, 68, 259. 


AMBROSE AND EMPEROR THEO- 


DOSIUS, Rubens, Vienna Museum ; canvas, 
HoT ft..9. ino kL ft fine Emperor 
Theodosius, whose hands were stained by 
the blood of the inhabitants of Thessaionica, 
is refused admission into the Cathedral by 
Archbishop Ambrose of Milan (4. p. 390). 


ful career as a portrait paint- 
er, under the patronage of 
the Imperial family. In 
1841-44 he resided at Rome 
and Florence. Works: Archduke Rudolph, 
Emperor Francis (1832), Laxenburg Palace ; 
Prince Schwar- 
zenberg, Count 
Zichy, Count 
Nugent, Princess 
Khevenhiiller, 
Thorwaldsen, 
Grillparzer, 
Prince Windisch- 
gratz on horse- 
back ; Lute Play- 
er, Artist's Broth- 
er as Fisher-boy, 
St. Paul (1833), 
_Artist’s portrait, Museum, Vienna ; Moses 
and Brazen Serpent, Baron Pereira, ib. ; 


36 


AMES 


Italian Girl, Oriental Woman, Felner Col- 
lection, ib. ; Sleeping Children, Count Ber- 
oldingen, ib.; Greek Woman, Muse of 
Tragedy (1863); Girl with Doves (1868). 
—Brockhaus, i. 551; Meyer, Kiinst. Lex., 
i. 627 ; Miiller, 12 ; Kunstblatt (1834), 294, 
308 ; (1842), 122; Wurzbach, i. 29. 

AMES, JOSEPH, born in New Hamp- 
shire in 1816, died in New York in 1872. 
Portrait painter ; studied in Rome. Passed 
his professional life in Boston and New 
York. Elected an A. N. A. in 1869, and N. 
A. in 1870. Ideal works: Miranda; Night ; 
Morning ; Death of Webster (1871) ; Ideal 
heads and a few landscapes. Portraits: Pius 
IX., Portrait of himself (1872, N. Academy); 
Ristori; Prescott; Daughter of Benjamin 
F, Butler ; Clarence H. Seward ; R. W. Emer- 
son; Rachel ; Webster ; Choate. 

AMIDANO, GIULIO CESARE, flourished 
at Parma, 1560-1628. Pupil of Parmigia- 
nino, or at least a close imitator of that mas- 
ter; painted afterwards also in the style of 
other masters, and shows on the whole little 
individuality or independence. — Meyer, 
Kinst. Lex., i. 629. 

AMIGONI (Amiconi), JACOPO, born in 
Venice in 1675, died in Madrid in 1782. 
Venetian school. After having attained acer- 
tain reputation in Italy, he went to Munich, 
and in the service of the Elector frescoed 
several ceilings in the castle at Schleissheim ; 
also painted oil paintings for churches and 
the court. In 1729 he went to London, 
where he found many patrons, and, besides 
painting frescos, was soon in great demand 
as a portrait painter; through the Russian 
ambassador he also received orders for the 
court of St. Petersburg. In 1736 he was, for 
a short time, in Paris, and in 1739 returned 
to Venice a wealthy man. In 1747 he re- 
paired to Madrid as court painter to Ferdi- 
‘nand VI. In his time this master stood in 
high repute, but later was severely criticised ; 
he is in fact a weak follower of Sebastiano 
Ricci and Solimena, though a certain ease 
and mastery of treatment cannot be denied 
to him, which, wherever his art is confined 


to a decorative character, produces graceful 
effects. Works: Children playing with a 
Goat, Boys playing with a Lamb, Hampton 
Court ; Joseph in Pharaoh’s Palace, Benja- 
min, St. Ferdinand receiving the Surrender 
of Seville, Portrait of an Infanta, Madrid 
Museum.—Meyer, Kiinst. Lex., 1. 631; Cean 
Bermudez. 

AMSTERDAM MUSKETEERS. 
Sortie. 

AMULIUS. See Labullus. 

ANASTASI, AUGUSTE PAUL 
CHARLES, born in Paris, Nov. 15, 1820. 
Landscape painter, pupil of Delaroche and 
Corot, entered the Ecole des Beaux-Arts in 
1849. Style classical, inclining to the real- 
istic. Though his pictures are attractive, 
their treatment is decorative and often 
superficial, and their colouring mannered. 
Medal, 2d class, 1848; medal, 1865; L. of 
Honour, 1868. In 1869 he became blind. 
Works: The Last Rays (1850); Harvest- 
Time (1852); Huts in Normandy; The 
Seine near Chatou; View near Bougival; 
Banks of the Spree (1855); Banks of the 
Maas (1857) ; Lake in Tyrol, Return of the 
Herd (1861); Villa Pamfili (1864), Luxem- 
bourg Museum, Paris; Sunset near Dord- 
recht ; Forum Romanum, Banks of the Tiber 
(1865). Others in museums of Marseilles, 
Lille, and Rennes.— Meyer, Kinst. Lex., 1. 
671; Miller, 13; Gaz. des B. Arts (1864), 
xvii. 13, 14. 

ANATOMIST, Gabriel Maz, Private Gal- 
lery, Munich ; canvas. The anatomist, an 
elderly man with a thoughtful face, is 
seated in an arm-chair, gravely contem- 
plating the features of a fair young girl, 
whose dead body, lying upon the dissecting 
table beside him, is draped with a sheet, ex- 
cepting the face and neck which he has un- 
covered; in the background a table, with 
books, papers, and several skulls upon it. 
Munich Exhibition, 1869.— Art Journal 
(1881), 177. 

ANATOMY, LESSON IN, fembrandt, 
National Gallery, Amsterdam ; canvas, H. 5 
ft. 4 in.x7 ft. 1 in.; signed, dated 1632. 


See 


37 


ANAXANDER 


Lecture by Nicolaas Tulp, of the Anatomical 
Institute, Amsterdam, to pupils gathered 
round a table, on which lies the dead body 
of a man which he has partly dissected. 
Right figures, those in foreground seen half- 
length, all portraits. © Rembrandt’s fame 


dates from this picture, which is remarkable 
in composition, expression, execution, and 
beauty of colouring. Painted for Guild of 


We eS Pe tf} 
Ma Wa SP = yj 
eid Pe 
Yeahs al iby | 
feeders 

: Xa 

f NO 


Dn \DESSS3y Ni 


Surgeons, Amsterdam; in their hall until 
1828, when sold to king for 36,000 florins. 
Etched by L. Flameng. Engraved by J. de 
Frey. Similar subject previously painted 
by Aert Pietersen (1603), Thomas de Keyser 
(1619); Nicolaas Elias (1625), and Pieter 
van Mirevelt (1617).—Kugler (Crowe), ii. 
368; Ch. Blanc, Rembrandt, 379; Mollett, 
23; Smith, vii. 61; Fromentin, Les Maitres 
d’autrefois, 291; Vosmaer, 23, 425. 

ANAXANDER, painter, date unknown. 
Mentioned as by no means without reputa- 
tion.—Pliny, xxxv. 40 [146]; Brunn, ii. 
300. 

ANAXANDRA, painter, daughter of Neal- 
ces, lived about 200 8. c. Worked in Cicyon 
and in Egypt.—Clem. Alexandr. Strom., iv. 
124; Brunn, ii. 291. 

ANAXENOR, painter, of Magnesia, date 
unknown. Name recorded, through a laugh- 


Lesson in Anatomy, Rembrandt, National Gallery, Amsterdam. 


able mistake, in the inscription on his por- 
trait of a singer.—Eustath. ad Od., p. 1622- 
38. 

ANCHER, ANNA (née Brondum), born 
at Skagen, Denmark, Aug. 18, 1859. Figure 
painter, pupil in Copenhagen of Kyhn, 
married in 1880 to genre painter Michael 
A. Works: Old Man cutting Pegs, Old 
Woman from Skagen (before 1880) ; Mother 
and Child, Coffee is ready 
(1881).—Sigurd Miller, 8. 

ANCHER, MICHAEL 
PETER, born at Ruthsker 
Sogn, near Bornholm, Den- 


painter, pupil of Copen- 
hagen Academy. Works : 
A Lying-in-Room in Jut- 
land (1874) ; Tavern Scene 
(1875) ; Fishermen launch- 
ing Lifeboat (1876); Lay 
| Preacher conducting Di- 
; vine Service on Skagen 
Beach (1877); Fisherboy 
returning from Seaguli 
Hunt, Sunday Evening on 
=»! the Beach (1878); Two 
Young Girls, Boys at Meal 


(1879) ; Mother’s Reading Lesson, Will He ~ 


clear the Point ? (1880) ; Figures in a Land- 
scape, Old Man laughing, Infant Class at 
Skagen (1881).—Sigurd Miller, 12; Illustr. 
Zeite. (1882), ii. 163. 

ANDERSON, A. A., born in New York, 
Aug. 11, 1847. Portrait and figure painter ; 
studied in 1873 under Bonnat in Paris. 
Studio in New York. Ideal Works: Street 
Scene in Cairo (1875); Young Oriental 
(1876) ; Palm Sunday (1878) ; De la Richesse 
4 la Pauvreté, Café Lion d’Or, Paris (1883). 
Portraits: Mrs. A. A. A. (Salon, 1877) ; E. D. 
Morgan ; Nathaniel Hawk ; H. B. Claflin. 

ANDERSSON, NILS, born in East Goth- 
land in 1817, died in Vaxholm, near Stock- 
holm, June 19, 1865. Landscape and genre 
painter, pupil of the Stockholm Academy ; 
made an art tour through Europe in 1851, 


and studied in Paris in 1854-56. After his _ 


38 


mark, June 9, 1849. Genre © 


q 


ANDES 


return he became a member of the Academy 
in 1857, and a professor in 1858. Works: 
Landscapes with animals, Stockholm Mu- 
seum; Fowler Art Union, Christiania.— 
Meyer, Kinst. Lex., i. 681. 

ANDES, HEART OF THE, Frederic E. 
Church, David Dows, New York ; canvas, H. 
6 ft. 8in. x 10 ft. Composition from studies 
made in the central mountainous regions of 
Ecuador. Painted in 1858 for Wm. T. Blod- 
gett, N. Y., at the sale of whose collection it 
was sold for $10,000.—On its first exhibition 
an enthusiastic description of it was written 
by Theodore Winthrop : see his volume en- 
titled ‘‘ Life in the Open Air.” Art Journal, 
Oct., 1859 ; Harper’s Weekly, May 7, 1859. 

ANDRADAE, Don ANDRES DE, por- 
trait, Murillo, Karl of Northbrook, London ; 
canvas, H. 6 ft.6 in. X 3 ft. 10 in. Full 
length, standing ; about fifty years old, with 
dark doublet with slashed sleeves, knee 
breeches, white stockings, right hand on 
head of a dog seated by his side, left holding 
hat. Bought from D. Antonio Bravo by Sir 
J. M. Brackenbury, British Consul at Cadiz ; 
sold to Louis Philippe for £1000 ; at his sale 
(18538), to Thos. Baring for £1020. Copy by 
Gutierrez in Academia 8. Fernando, Madrid. 
—Curtis, 292 ; Athenzeum(1853), 623. 

ANDRE (Andray), JEAN, born in Paris, 
in 1662, died therein 1753. Studied at Rome 
under Carlo Maratti, in whose house he lived. 
Became a Dominican monk, and devoted him- 
self to painting religious subjects. Works: 
Jesus in Simon’s House, Lyons ; Marriage at 
Cana and Multiplication of Loaves, Bor- 
deaux ; two pictures from life of St. Vincent 
de Paul, St. Lazare, Paris. — Larousse ; 
Meyer, Kiinst. Lex., 1. 684. 

ANDRR&, JULES, born in Paris, April 19, 
1807, died there, Aug. 17, 1869. Landscape 
painter, pupil of Jolivard and Watelet. He 
worked for ten years (1845-1856) in the 
manufactory at Sévres, but painted pictures 
for the Salon at the same time. Medal, 2d 
class, 1835; L. of Honour, 1853. In 1848 
was conservateur of the drawings at the 
Louvre. Works: Bridge of Tauron (1855), 


bought by the State ; View in the Valley of 
the Streture (1863); Panels with Land. 
scapes, Pavillon Mollien, Louvre. 

ANDRE, MICHEL FRANCOIS, born in 
Aix, Provence, baptized May 22, 1700, died 
in Paris, April 13, 1783. Family name Bar- 
don. History painter, pupil of J. F. de Troy. 
In 1725 carried off second Academy prize for 
painting, then spent six years in Italy, where 
he painted a colossal picture for the City 
Hall (1729), now in the Aix Museum, and 
allegorical figures of the Virtues. In 1737 
made Associate of the Academy. Returned 
to Paris in 1752 and elected professor in 
the Royal Academy of Painting. Founded 
the Academy of Art at Marseilles about 1750, 
and was its director. Was also a poet and 
musician. Works: Christ Crucified, St. Je- 
rome, Aix; Tullia, Montpellier Museum.— 
Meyer, Kiinst. Lex., 1. 685. 

ANDREA DEL CASTAGNO. See Cas- 
tagno. 

ANDREA DI CIONE. See Orcagna. 

ANDREA DA FIRENZE or DA FLO- 
RENTIA, of Florence, 14th century. He 
began in 1377 the series of frescos in the 
Campo Santo, Pisa, illustrating scenes from 
the life of S. Ranieri, assigned by Vasari to 
Simone of Siena, which was finished in 13886 
by Antonio Veneziano.—C. & C., Italy, 1. 
395, ii. 84 ; Meyer, Kiinst. Lex., ii, 2; Va- 
sari, ed. Le Mon., i. 93. 

ANDREA DEL GOBBO. See Solario. 

ANDREA DEGLI IMPICCATI. See 
Castagno. 

ANDREA MICHIEL, called Vicentino 
(from Vicenza), born about 1539, died in 
1614. Venetian school ; supposed pupil of 
Jacopo Palma the younger ; nothing known 
of his life. Executed important works in 
the Palazzo Ducale, Venice ; among them are 
the Doge Ziani presenting the Son of Barba- 
rossa to the Pope, the Assault of Zara in 
1202, Otho presented to the Pope, Baldwin 
elected Emperor of the East by the Cru- 
saders, the Siege of Venice by Pepin, the 
Defeat of Pepin, the Victory of the Vene- 
tians over the Turks, the taking of Cattaro, 


39 


ANDREA 


and the Entry of Henry III. into Venice. | 
In the Venice Academy are his Deposition 
from the Cross and his Madonna in Glory 
with Saints ; and others of his works are at 
Vicenza, Padua, Treviso, Rovigo, etc., and 
in the Venetian churches of S. Zanipolo, 
S. Fantino, S. M. della Celestia, and the 
Frari. His compositions, though rapidly 
conceived and hastily executed, are well 
worthy of attention. In the latter part of 
his life Andrea went to Munich and deco- 
rated the Imperial Hall of the Palace with 
fourteen large paintings of sacred and class- 
ical subjects.—Ch. Blane, Ecole vénitienne ; 
Meyer, Kiinst. Lex., i. 709. 

ANDREA MILANESE. See Solario, An- 
drea. 

ANDREA DA MURANO, end of 15th 
and beginning of 16th century. Venetian 
school ; pupil of Bartolommeo Vivarini, and 
thoroughly impressed with his style, though 
far inferior to him in the treatment of 
colour. Larliest authenticated work an 
altarpiece painted for S. Pietro Martire in 
Murano, parts of which are in the Brera, 
Milan, and the Academy at Venice. He 
painted in 1501 an altarpiece for the church 
of Trebaseleghe near Treviso, and in 1502 a 
Madonna with Saints in the church of Mus- 
solone near Asolo.—C. & C., N. Italy, i. 77; 
Meyer, Kiinst. Lex., i. 707. 

ANDREA DA SALERNO, born at Sa- 
lerno about 1480, died in Naples (?) about 
1545. Neapolitan school ; real name Andrea 
Sabbatini. Started for Perugia to study the 
works of Perugino, but attracted by the 
fame of Raphael became his assistant ; and 
finally settled in Naples, where he painted 
many pictures. His best picture is the 
Adoration of the Magi in the Museum at 
Naples. Other works in various churches 
at Naples and Salerno. May be classed 
with Jacopo Siculo and Pacchia of Siena.— 
C. & C., N, Italy, ii. 106 ; Vasari, ed. Le 
Mon., vi. 40, ix. 115 ; Burckhardt, 683 ; 
Seguier, 184; Ch. Blane, Ecole napolitaine ; 
Liibke, Gesch. ital. Mal., ii, 373. 

ANDREA DEL SARTO. See Sarto. 


ANDREA DI VANNI or ANDREA VAN- 
NI, born in Siena in 1332, died in 1414. 
Sienese school ; in 1353 he was painting in 
partnership with Bartolommeo di Man- 
fredi. In 1868 he took part with those who 
expelled the nobles from Siena, and as a 
reward for his services was elected in 1370 
one of the great council. He was a gonfa- 
loniere in 1371, envoy to the Pope at Avig- 
non in 1372, went on a mission to Florence 
in 1373, and was envoy to the Pope at Na- 
ples in 1384. Although Lanzi calls him 
‘the Rubens of his time,” painting appears 
to have been with him a business rather 
than a passion. Damaged remains of some 
of his frescos are in the Minutoli Chapel, 
Duomo, Naples, and in a chapel of S. Do- 
menico, Naples, and a portrait of St. Cather- 
ine of Siena in S. Domenico, Siena. There 


is also a Virgin Enthroned by him in the 


sacristy of S. Stefano, Siena, a picture of a 
common class, combining most of the de- 
fects of Bartolommeo di Manfredi.—C, & 
C., Italy, iis Meyer, Kinst. Lex., i. 
692; Milanesi, Siena e il suo Territorio, 
168 ; Kugler (Eastlake), i. 173. 

ANDREA VICENTINO. 
Michieli. 

ANDREAE, KARL, born at Mihlheim, 
near Cologne, Feb. 3, 1823. History painter, 
pupil of the Diisseldorf Academy in 1839-44, 
under Karl Sohn and Schadow. From 1845 
to 1849 he studied in Rome ; was especially 
drawn towards Cornelius, whom he followed 
to Berlin, where he remained until 1865 and 
then settled in Dresden. In 1859 he founded 
in Dresden the Saxon Christian Art Union, 
of which he has been president since 1864. 
—Meyer, Kiinst. Lex., i. 713 ; Miiller, 13; 
Christl. Kunstblatt (1869), 164. 

ANDREW AND JEROME, SAINTS, 
Tintoretto, Palazzo Ducale, Venice ; canvas, 
H. 6 ft. x8 ft. St. Andrew standing, hold- 
ing a cross ; St. Jerome reclining at his feet. 
Companion picture to St. George and the 


See Andrea 


Dragon.—Ruskin, Stones of Venice, iii. 296. _ 


ANDREW, ST., MARTYRDOM OF, 
Carlo Dolci, Palazzo Pitti, Florence ; canvas, 


40 


ee ws 


a ls ee 


ANDROBIUS 


H. 4 ft. x 3 ft. 3 in.; signed, dated 1646. St. 
Andrew kneeling, while an executioncr re- 
moves his clothes ; at left, three others pre- 
pare the cross ; behind the saint, a centuri- 
on and soldiers ; in background, down the 
hill, the rabble. Painted for Marquis Carlo 
Gerini; bought of his heirs by Grand Duke 
Ferdinand II. Engraved by G. Guadag- 
nini.—Gal. du Pal. Pitti, ii. Pl. 41. 
By Murillo, Madrid Museum ; canvas, H. 
4 ft. x 5ft. 3 in. The Saint, nearly nude, 
his white hair and beard streaming in the 
air, is fastened with cords to a saltier cross 
formed of the trunks of trees; above, cher- 
ubs with the crown and palm of martyrdom ; 
beneath, executioners, two of whom tighten 
the cords on his feet; at left, in front, a 
group of spectators ; at right, two soldiers 
on horseback, and others on foot. Latest 
manner. Repetition : Sir Philip Miles, Bart., 
Leigh Court, Somerset (not mentioned by 
Waagen).—Curtis, 209 ; Madrazo, 482. 
ANDROBIUS, painter, place and date un- 
known. Painted picture of Scyllis, the diver, 
cutting away the anchors of the Persian 
fleet.—Pliny, xxxv. 40 [1388] ; Brunn, ii. 299. 
ANDROCYDES, Greek painter of Cyzi- 
cus, contemporary and rival of Zeuxis, about 
400-377 8. c. Plutarch mentions (Pelop. 25), 
a picture by him representing a cavalry skir- 
mish near Platzea shortly before the battle of 
Leuctra, and another of Scylla surrounded 
by fishes.—Athen. vii.; Plut. Sympos., iv. 2, 
3, 8; Brunn, ii. 124; Pliny, xxxv. 36 [64]. 
ANDROMACHE AND PYRRHUS, P. N. 
Guérin, Louvre ; canvas, H. 10 ft. 7 in. x 
14 ft. 2 in.; signed, dated 1810. Subject 
from MRacine’s Andromaque. At right, 
Orestes, standing, demands Astyanax in the 
name of the Greeks; in centre, Pyrrhus, 
seated, stretches his sceptre over the child 
which Andromache, kneeling and in tears, 
puts under his protection ; at left, Hermi- 
one, jealous of her rival, goes out in anger. 
Acquired in 1822 for 10,000 fr. Engraved 
by Richomme.—Réveil, 11. 95. 
ANDROMEDA, ancient picture. 
Evanthus, Nicias. 


See 


By J. J. Henner, Mme. Raffalovich, Paris; 
canvas. Nude, standing, her head bent 
down, hair dishevelled, chained to two iron 
rings fixed in the rock on the borders of 
the sea.—L’Artiste (1882), i. 58. 

By Rubens, Blenheim Palace ; wood, H. 6 
ft. 6in. x 38ft. lin. Chained to the rock, 
in terror at the approach of the monster ; 
over her head Cupid with his torch ; in dis- 
tance, Perseus, mounted on Pegasus, de- 
scending from skies. Probably painted in 
Italy.— Waagen, Art Treasures, i. 129. 

ANDROMEDA, RESCUE OF. See Per- 
seus and Andromeda. 

ANESI, PAOLO, flourished at Rome first 
half of the 18th century, born about 1700. 
Landscape painter ; frescoed in 1761, with 
Ant. Bicchierai and Nic. Lapiccola, three 
rooms in the Villa Albani, Rome, in the 
style of Locatelli. His pictures, which are 
rare, are often mistaken for those of Giov. 
Pannini.. Four Landscapes, Hohenzollern 
Gallery, Lemberg; three others (1766), at 
Schloss, Sagan.—Meyer, Kiinst. Lex., 11. 30; 
Nagler, Mon., i. 497. 

ANGE, FRANCOIS DE L’, born in Savoy 
in 1675, died April 17, 1756. History 
painter, pupil of Crespi, at Bologna, 1706. 
He painted small, well-drawn, and _bril- 
liantly-coloured pictures. Worked long for 
the Marchese Lucatelli. Entered Order of 
S. Filippo Neri in 1735.—Meyer, Kinst. 
Lex., ii. 81; Felsina Pittrice, 1. 271. 

ANGELI, BATTISTA. See Moro. 

ANGELI, FILIPPO D’, called Filippo 
Napoletano, born in Rome near end of 
16th century, died in Naples about 1640. 
Neapolitan school; pupil of his father, 
who painted in Rome for Pope Sixtus V., 
and afterwards was employed in Naples 
by Cardinal Pallotta. After his father’s 
death Filippo returned to Rome to con- 
tinue his studies, devoting himself chiefly 
to landscape painting, but also painted 
architectural views with well-executed fig- 
ures. His pictures are commended for good 
aerial perspective and well-grouped acces- 
sories. Works: Satyr and Peasant, Louvre; 


41 


ANGELI 


Cavalry Skirmish, Schleissheim Gallery ; 
Portrait of himself, Uffizi, Florence.—Meyer, 
Kinst. Lex., ii. 43; Miindler, Essai, 26. 

ANGELI, GIULIO CESARE, born in 
Perugia about 1570, died there in 1630. 
Bolognese school; pupil of Ledovico Car- 
racci, whose influence is not very apparent 
in his paintings ; his drawing, especially of 
the nude, is negligent, while composition 
and colouring show talent. Works: Ma- 
donna with Saints, Perugia Cathedral.— 
Meyer, Kinst. Lex., 11. 44. 

ANGELI, GIUSEPPE, born in Venice 
about 1710, died in 1798. Venetian school ; 
pupil of Gio. Batt. Piazetta, from whom he 
derived his blackish shadows and disagree- 
able yellowish tint. His drawing is skilful, 
composition vivid, and in his later period 
the colouring becomes more light and pleas- 
ing, but is lacking in strength. He painted 
a great deal in oil and fresco for the churches 
in Venice and neighbouring cities. Works : 
Little Drummer, Louvre ; Lot and Daugh- 
ters, Mentz Museum.—Meyer, Kiinst. Lex., 
11.44; Zanotto, Storia, 102; Zanetti, Pit- 
tura Ven., 614. 

ANGELI, HEINRICH VON, born in 
Oedenburg, Hungary, Feb. 8, 1840. His- 
tory, genre, and portrait painter, pupil in 
1854 of the Vienna Academy, then of Gus- 
tay Miller, and with Leutze went to Diissel- 
dorf in 1856. In 1859-62 he was in Mu- 
nich, and in 1862 settled in Vienna, where he 
soon became the favourite portrait painter 
of the aristocracy. His portraits are dis- 
tinguished for truth, an air of high breeding, 
and elegance of arrangement, and his genre 
pictures are full of dramatic life. Medal, 
Paris, 3d class, 1878. Professor in Vienna 
Academy since 1876. Works: Mary Stuart 
Sentenced (1857); Louis XI. and Francis 
de Paula (1859); Antony and Cleopatra 
(1860); Ceesar and Antony ; Jane Gray be- 
fore Execution; Avenger of his Honour 
(1869) ; Youthful Love (1871), Vienna Mu- 
seum ; Italian Lovers (187 2); Denied Abso- 
lution (1873); Portraits of Grillparzer, 
Alex. Dumas, Lady in Black (1872), Cos- 


tenoble (1873), Queen Victoria (1875), Em- 
peror of Austria, Emperor William, Crown 
Prince and Princess of Germany, Prince 
Frederic Charles, Baron Manteuffel, Prin- 
cess of Montenegro.—Brockhaus, i. 641 ; 
Meyer, Kunst. Lex., 11. 45; Miller, 14; 
Illustr. Zeitg. (1872), i. 251 ; (1875), ii. 255 ; 
Kunst-Chronik, v. 1438; Zeitsch. f. b. K., 
vi. iii. 147. 

ANGELICA AND ROGER, Jean Ingres, 
Louvre, Paris ; canvas, H. 4 ft. 8 in. x 6 ft. 
3 in.; signed, dated Rome, 1819. Roger, 
mounted upona hippogriffe, plunges his lance 
into the monster, about to devour Angelica 
chained to a rock. Subject from Ariosto. 
Painted in 1819, sketches in Montauban 
Museum ; first sketch for figure of Angelica, 
retouched in 1867, Ph. Burty.—Cat. Louvre. 

ANGELICO, Fra GIOVANNI, born in 
Vicchio in 1387, died in Rome in 1455. 
Florentine school; real name Guido or Gui- 
dolino di Pietro ; called also Fra Gio. da Fie- 


sole and Il Beato (the Blessed); may have . 


studied under Starnina, but was probably 
bred with his younger brother, Benedetto, 
in the monkish school of miniature. To- 
gether they took the vows in 1407-8, either 
at Cortona or at the Dominican Convent, 
Fiesole, where they remained until 1409, 
when with the brethren who adhered to 
Gregory XII. they retired to the Dominican 
Convent at Foligno, and iived there and at 
Cortona until 1418. The next eighteen 
years were passed by Fra Angelico in Fie- 
sole, after which he spent nine years (1436- 
1445) in the Convent of §. Marco, Florence. 
From 1445 until his death, with the excep- 
tion of three months’ (1447) employment in 
Orvieto, he resided in Rome, where he 
painted frescos in two chapels of the Vati- 
can for EKugenius IV., and his successor, 
Nicholas V. The residence of Fra Angelico 
at Foligno during an early period of his 
life favoured his peculiar development. At 
Assisi, which lies at no great distance from 
Foligno, he saw and studied the works of 
Giotto, of whose school he may be called a 
follower, inasmuch as he exclusively devel- 


42 


: 
: 


ANGELINI 


oped one of its chief elements; while at 
Foligno he perfected himself in the art of 
illuminating choir books and missals. Evi- 
dence of Angelico’s training as a miniaturist 
is to be found in the dryness, precision, 
and extreme simplicity of his style, and in 
the thinness and meagreness of his execu- 
tion. Masolino may have taught him how 
to make his draperies more transparent by 
new methods of glazing, and how to use 
other freshly discovered technical processes, 
but nevertheless he remained a mystic in an 
age of growing naturalism; a medievalist 
in the first period of the Renaissance, work- 
ing in the fifteenth century in the spirit of 
the fourteenth. Angelico with all his tech- 
nical incompleteness has never been ex- 
celled in depicting the seraphic. His angels 
are birds of Paradise, whose faces glow with 
beatitude, whose forms are just enough 
like those of human beings to make them 
comprehensible, but not so much so as to 
veil their divine nature. Another point in 
which Angelico stands alone is in his power 
of depicting in the faces of his saints and 
devotees the deep emotions which stir na- 
tures like his when absorbed in the contem- 
plation of divine mysteries. The counte- 
nances of some of the great teachers and 
founders of religious orders in his fresco of 
the Crucifixion (after 1436), in the Chapter 
House, S. Marco, Florence, are instances in 
point. Some of the most remarkable of An- 
gelico’s works are: Altarpiece, Lunette over 
portal, S. Domenico, Cortona (before 1418); 
Predella of same, Annunciation, Gest, Cor- 
tona; parts of an altarpiece, Perugia Gal- 
lery; Predella of same, Vatican, Rome; 
altarpiece (after 1418, repainted by Lorenzo 
di Credi), S. Domenico, Fiesole ; Corona- 
tion of the Virgin (1433), Coronation of the 
Virgin, and many small panels (1486), Uffizi, 
Florence; Last Judgment, Paradise, and 
Deposition from the Cross, 35 subjects from 
Life of Christ, two altarpieces, Florence 
Academy ; Angels kneeling on Clouds, Turin 
Gallery ; Crucifixion, Madonna della Stella, 
Coronation of the Virgin, Adoration of the 


Magi, St. Peter Martyr, S. Marco, Florence; 
Frescos, Lives of SS. Laurence and Stephen, 
Chapel of St. Nicholas, Vatican, Rome (1450- 
55); God the Father and Prophets (1447), 
ceiling, Duomo, Orvieto ; Coronation of the 
Virgin, Miracles of St. Dominic, Louvre, 
Paris; Last Judgment, Berlin Museum; 
Adoration of the Magi, Christ with Angels 
and the Blessed, National Gallery, Lon- 
don.—Vasari, ed. Mil. u. 505, 527; C. 
& C., Italy, i. 559; Marchesi, i. 185; 
Burckhardt, 530; Rio, i. cap. xi; Life of 
F. A., Arundel Soc. Pub. (London, 1850) ; 
Cartier, Vie de F. A. (Eng. trans., London, 
1865) ; Forster, Leben und Werke (Ratis- 
bon, 1859) ; Dohme, 2 i. 

ANGELINI, ANNIBALH, Cavaliere, born 
at Perugia, Italy,in 1812. Landscape painter, 
pupil of Perugia and Florence Academies. 
Professor at Academy of S. Luca, Rome; 
member of most of the Italian Academies. 
Several orders. Works: Six Landscapes 
with Architecture, Vatican, Rome; Land- 
scapes, Quirinal, ib.; Ceiling Fresco, Palazzo 
Doria, ib.—Miller, 14. 

ANGELO, MICHAEL. 
gelo. 

ANGELS, FALL OF, Luca Giordano, Vi- 
enna Museum; canvas, H. 13 ft. 4 in. x 8 ft. 
10 in.; signed, dated 1666. The Archangel 
Michael, sword in hand, in a glory of angels, 
overcomes the rebellious angels and casts 
them down. Engraved by Hissner.—Gal. de 
Vienne, ii. Pl. 89. 

ANGELUS, J. F. Millet, M. Secretain, 
Paris; canvas. Evening; two peasants, a 
man and a woman, at work in a field, hear 
the bells of the Angelus from a chapel seen 
in the distance. They rise, stop work, and 
standing bareheaded, recite with downcast 
eyes the words of the prayer, “ Angelus do- 
mini nuntiavit Marie.” Painted in 1859; 
sold to J. W. Wilson, Paris ; at his sale (1881), 
160,000 fr. Original design, W. T. Walters, 
Baltimore. Etched by C. Waltner; by A. 
P. Martial in Art Journal (1884), 348. 

ANGIOLETTO DA GUBBIO, of Gubbio, 
fourteeth century. Worked as a mosaist at 


See Michelan- 


43 


ANGIOLILLO 


Orvieto (1321-1329), and afterward at Assisi. 
A series of small panels in tempera, origin- 
ally parts of one picture, in the Ranghiasci 
Brancaleone collection, Gubbio, have been 
assigned to him. ‘These have all the char- 
acter of the Urbinese school at the close of 
the fourteenth century. The figures are 
long and slender, but the heads are oblong 
and the features small. The colour of the 
flesh is rosy, and the general tone gay and 
pleasing.— C. & C., Italy, ii. 192; Meyer, 
Kiinst. Lex., ii. 59; Cibo, 41. 
ANGIOLILLO DA ROCCADIRAME, 
flourished about 1450, died about 1460 (?). 
Neapolitan school ; pupil of Antonio Solario, 
and his assistant in many of his works. 
Painted altarpieces for churches in Naples. 
—Lanzi, ii. 12; Ch. Blane, Ecole napolitaine. 
ANGUISCIOLA, SOFONISBA, born in 
Cremona 
about 1535, 
died in Gen- 
oa in 1622 (?). 
Lombard 
school ; schol- 
ar of Bernard- 
ino Campi and 
of Bernardino 
Gatti; attract- 
ed attention at 
Rome about 
1554 by her 
- portraits, one of the earliest of which is 
perhaps her own likeness of that year in the 
Vienna Museum. She frequently represented 
herself in different situations,—with brush 
and palette, Uffizi, Florence ; seated at the 
clavichord, Althorp, England ; at her easel, 
Keir, Scotland ; playing chess with two of 
her sisters, Raczynski Gallery, Berlin. In 
Spain, where she resided for several years 
and was raised to the rank of first lady in 
waiting to the Infanta Clara Eugenia, she 
painted portraits no longer extant of mem- 
bers of the royal family, and stood high in 
favor with Philip IL, who made her splen- 
did presents and assigned her a considerable 
pension on the occasion of her marriage and 


return to Italy. Until the death of her hus- 
band she lived at Palermo, where she painted 
some religious pictures of merit inferior to 
her portraits, and later, having remarried, 
she settled at Genoa, where she was admired 
and followed for her talents and accomplish- 
ments. Her five sisters, Elena, Lucia, Mi- 


Sofonisba Gentisdona Cremonese. 


nerva, Europa, and Anna Maria were all 
painters.—Meyer, Kiinst. Lex., 11. 64; Vasari, 
ed. Mil., vi. 498 ; Ch. Blanc, Ecole lombarde; 
Wessely. 

ANIEMOLO (Ainemolo), VINCENZO, 
born in Palermo, towards end of fifteenth 
century, died there in 1540. Neapolitan 
school ; the most noted artist in Sicily in the 
sixteenth century, holding some rank as An- 
drea da Salerno on the mainland. Probably 
visited Naples and studied Perugino and 
later went to Rome, where he studied Rapha- 
el’s masterpieces and learned to imitate them 
in arrangement and expression. His works 
are chiefly in Palermo ; the best, a Madonna 
between four saints, in 8. Pietro Martire.— 
C. & C., N. Italy, ii. 117; Meyer, Kiinst. Lex., 
u.71; De Marzo, Belle Arti in Sicilia, iii. 207. 

ANKER, ALBERT, born at Anet, near 
Neufchatel, Switzerland, April 1, 1831. 
Genre painter; pupil in Paris of Charles 
Gleyre and of the Ecole des Beaux Arts. 
His historic and domestic genre pictures are 
spirited and excellent in drawing, but some- 
what dull in colouring. Medal, Paris, 1866 ; 
L. of Honour, 1878. Works: Evening Prayer 
(1861), Neufchatel, City Museum ; Village 
School in the Black Forest, (1859) ; Luther 
at Erfurt (1861) ; Burial of a Child (1864) ; 
Children Bathing (1865) ; Writing Lesson 
(1866) ; Marionettes (1869) ; Soldiers nursed 
by Peasants (1872) ; The Snow-Bear (1873); 
Little Musician ; Engineer, Good Little Girl 
(1885). Other pictures at Berne, Bayonne, 
Auran, and Lille-—Meyer, Kiinst. Lex., ii. 
72; Miiller, 14. | 

ANNA, BALDASSARE D’, end of six- 
teenth and beginning of seventeenth cen- 


tury; of Flemish descent, but probably 


44 


ANNE 


born in Venice about 1560, died after 1639. 
Venetian school ; pupil of Leonardo Corona, 
several of whose pictures he finished after 
his master’s death in 1605. His original 
works surpass those of Corona in softness of 
execution, but are inferior in design. His 
Annunciation of the Virgin over the high 
altar of S. M. Maddalena in the island of 
Zucea, and a large picture in S. M. Formosa 
at Venice are two of his best works.—Meyer, 
Kiinst. Lex., ii. 75 ; Vasari, ed. Le Mon., ix. 
36, xiii. 20, 43. 

ANNE PAGE AND SLENDER, Sir A. W. 
Callcott, S. Kensington Museum; canvas, H. 1 
ft. 8in. x 2 ft.4in. Anne inviting Slender 
to enter the house ; in background, Simple. 
(Merry Wives of Windsor, Act i., Scene i.) 
—Painters of Georgian Era, 74. 

ANNUNCIACAO, THOMAZ JOSE D’, 
born at Ajuda, near Lisbon, in 1821, died 
in Lisbon, April 3, 1879. Animal painter of 
great repute in Portugal and Spain; di- 
rector of Lisbon Academy, in whose gallery 
as well as in those of the palaces D’Ajuda 
and Das Necessidades, his principal works 
are to be seen. Others are in England, 
Brazil, and the United States. Works: 
Oxen Treading out Corn, View on the Tagus, 
View of the Penha de Franga, View of 
Amora, Shepherd’s Rest (1852), Galeria Na- 
cional, Lisbon.—Chronique des Arts (1879) 
120. 

ANNUNCIATION (Fr. Annonciation, Ital. 
Annunziazione, Sp. Anunciacion, Ger. Ver- 
kiindigung), the announcement by the 
Angel Gabriel to the Virgin of the Concep- 
tion of Christ (Luke i. 26-31). Sometimes 
called the Salutation (Fr. Salutation angé- 
lique). 

By Marictto Albertinelli, Florence Academy; 
canvas, signed, dated 1510. Below, Gabriel 
making the announcement to the Virgin ; 
above, God the Father in a glory of angels. 
Painted for the Compagnia di 8. Zanobi, 
Florence, whence passed to Academy. Much 
repainted.—Vasari, ed. Mil. iv. 223; C. & 
C., Italy, iii. 487. 

By Mazriotto Albertinelli, Munich Gallery ; 


wood, H. 5 ft. 4 in. x 6 ft. 3in. The Virgin, 
standing in an arched hall, receives the mes- 
sage from the angel who kneels ; above, the 
Holy Ghost descending ; in niches at sides, 
SS. Sebastian and Ottilia. Painted in 
15138 (?). Bought in Florence in 1832 by 
King Ludwig I. A fine picture, but much 
repainted.—Meyer, Kiinst. Lex., i, 222; ©. 
& C., Italy, iii. 490. 

By Fra Angelico, Mus. di 8. Marco, 
Florence ; fresco ; others in Gesu, Cortona ; 
S. Alessandro, Brescia; Madrid Museum. 

By Fra Bartolommeo, Louvre; wood, H. 
3 ft. 2 in. x 2 ft. 6 in.; signed, dated 1515. 
The Virgin, with a book in her hand, en- 
throned in a niche, looking at Angel Ga- 
briel who appears in the air bearing a lily in 
his hand ; at sides, stand SS. John Baptist, 
Paul, Jerome, and Francis, while SS. Mar- 
garet and Mary Magdalen kneel. Painted 
for the Dominicans of Florence ; belonged 
to collection of Francis I.—Landon, Musée, 
xii, Pl, 37; Mariette, Abecedario, ii. 76; 
Villot, Cat. Louvre. 

- By Lodovico Carracci, Louvre ; canvas, 
H. 1 ft. 8 in. x1 ft. 1 in. The Virgin, 
kneeling, receives the announcement from 
Gabriel, who, kneeling upon clouds, points 
upward where the opening heavens disclose 
a choir of angels and cherubim. Collection 
of Louis XIV.—Villot, Cat. Louvre ; Landon, 
Musée, xiv. Pl. 68. 

By Carlo Crivelli, National Gallery, Lon- 
don ; wood, tempera, H. 6 ft. 10 in. x 4 ft. 10 
in.; signed, dated 1486. An elegant house 
and interior court; the Virgin below in her 
chamber, kneeling, the Dove hovering over 
her head, which is illumined by a golden 
ray from a glory above; opposite, in the 
open court, the angel kneeling, with St. 
Emidius, patron of Ascoli, at his side, pre- 
senting a model of the city. Presented, 1864, 
by Mr. Labouchere ; acquired by him from 
Lolly Collection; previously in Convent of 
SS. Annunziata, Ascoli.—Richter, Ital. Art 
in Nat. Gal., 83 ; Cat. Nat. Gal. 

By Guido Reni, Louvre ; canvas, H. 10 
ft.6in. x 7 ft, 3 in, The Virgin kneeling 


de 


ANNUNCIATION 


with hands clasped ; at left, Archangel Ga- 
briel, borne on a cloud ; above, the Holy 
Spirit descending, surrounded by a choir of 
angels.—Landon, Musée, v. Pl. 53 ; Filhol, 
xi. Pl. 32. 

By Murillo, Hospital of La Caridad, Se- 
ville; canvas, H. 5 ft. 6 in. x 4 ft. 2 in. 
The Virgin, on left, kneeling beside a desk, 
in front of which is a basket containing linen 


Annunciation, by Fra Bartolommeo, Louvre. 


and scissors; on right, the angel, in red 
robes, holding lilies in left hand, kneels on 
right knee, pointing to Dove ; above, cherubs 
and heads. Painted for Hospital about 1674. 
Repetition in Amsterdam Museum, formerly 
attributed to Rubens.—Curtis, 144. 

By Murillo, Madrid Museum ; canvas, H. 4 
ft. lin. x 3 ft.4in. The Virgin kneeling at 
right, her left arm resting on desk, on which 
is a book and vase of lilies, and in front of 
which is a basket of linen ; at left, the angel, 


kneeling on right knee, pointing with left 
hand to the Dove ; above, cherubs and heads. 
Bought by Philip V. in Seville in 1729 ; Isabel 
Farnese Collection. Lithographed by M. 
Lavigne ; F. Decraene. Repetition of smaller 
dimensions in Hermitage, St. Petersburg ; 
lithographed by Huot.—Curtis, 145 ; Mad- 
razo, 474, 

By Murillo, Madrid Museum ; canvas, H. 6 
ft. x 7 ft.4 in. The Virgin 
kneeling at right beside a 
desk; angel at left kneel- 
ing on left knee, pointing 
to Dove with right hand 
and holding lilies in left ; 
between them a basket of 
linen and a chair ; on each 
side, a column; above, 
cherubs and heads. Col- 
lection of Charles III. ; for- 
merly in Academy of S. Fer- 
nando. lLithographed by 
A. Guglielmi.—Curtis, 145; | 
Madrazo, 468. 

By Murillo, Seville Mu- 
seum ; canvas, arched, H. 
10 ft. 6 in vee 
The Virgin, on left, kneel- 
ing before a desk, looking 
up at angel who kneels on 
clouds, holding lilies in left 
hand and pointing with 
right to the Dove; above, 
cherubs and heads; centre 
foreground, a basket of lin- 
en. Painted about 1676 
for the Capuchin Church, 
Seville; placed in Museum in 1840. Repe- 
tition: Philip W. S. Miles, King’s Weston, 
Gloucestershire, England.—Curtis, 144. 

By Murillo, Sir Richard Wallace, Bart., 
London ; canvas, H. 5 ft. 10 in. x 4 ft. 3 
in. The Virgin kneeling on left, her left 
arm on a desk; on right, the angel, kneel- 
ing on clouds, holding lilies in left hand 
and pointing with right to Dove ; above, five 
cherubs. Sale of M. Rayneval, formerly 
French Ambassador to Madrid, in 1838 for 


46 


ANNUN 


15,000 fr.; Aguado sale (1843), to Marquis 
of Hertford, 27,000 fr. Engraved by A. 
Lefevre, J. Rogers, W. Hulland (varied) ; 
lithographed by André, Lafosse, Bliimmer. 
—Curtis, 145 ; Waagen, ii. 153. 

By Andrea Previtali, S. M. del Mesco, 
Ceneda ; wood, H. 8 ft. 6in. x 5 ft. 5 in; 
signed. The Virgin, at a 
desk in a room, bends hum- 
bly towards the angel kneel- 
ing with a lily in his hand; 
through window is seen a 
cock attacked by a wolf. Ri- 
dolfi says that Titian ad- 
mired this picture, and fre- 
quently stopped on his way 
to Cadore to see it.—C. & 
C., N. Italy, i.; Ridolfi, Mara- 
viglie, i. 184. 

By Andrea del Sarto, Pa- | 
lazzo Pitti, Florence ; wood, 
HS tee 1) ain. x6 ft. 6 in. 
The Virgin, standing before 
a reading desk, receives the 
announcement from Gabriel 
holding a lily and kneeling 
on a cloud ; in back-ground 
a building with an open por- 
tico, under which are three 
figures; at the base, steps, 
on one of which sits a nude 
youth ; in the distance ruins 
and mountains, and in the 
air the Holy Ghost in form 
of adove. Painted in 1512 
for Convent of the Osser- 
vanti outside the Porta San 
Gallo ; transferred on its de- 


CIATION 


brother, supposed to be Filippo Benizi, 
founder of the order; in background, a 
building. Painted about 1512 for the ab- | 
bey of San Godenzo; bought by Carlo de’ 
Medici, who put in its place a copy, now in 
the Casa Visani at San Godenzo. Much re- 
painted. Engraved by Rosini.—Vasari, ed. 


molition in 1529 to 8S. Jacopo 
tra’ Fossi ; placed in Pitti in 
1626. Engraved by Rossi. 


—C. & C., Italy, iii. 553; Vasari, ed. Mil., | 


weet reeetral au Pal, Pitti, i. Pl. 113. 

By Andrea del Sarto, Palazzo Pitti, Flor- 
ence ; canvas, H. 5ft. lin. x 5ft.6in. The 
Virgin receives the announcement from 
Gabriel in presence of the Archangel Mi- 
chael, with sword and scales, and a Servite 


Annunciation, Lodovico Carracci, Louvre. 


Mil., v.17; C. & C., Italy, 1. 578; Gal. du 
Pal. Pitti, iv. Pl. 113. 

By Tintoretto, S. Rocco, Venice. ‘A dis- 
agreeable and dead picture, having all the 
faults of the age, and none of the merits of 
the painter.”—Ruskin, Stones of Venice, ii. 
322. 


e 


4% 


ANSALDO 


By Tintoretto, Scuola di 8. Rocco, Venice : 
canvas. ‘The most remarkable feature 1s 
the troop of cherubim flying through the 
roof.”—Ruskin, Stones of Venice, ii. 326. 

By Titian, S. Niccolo, Treviso ; wood, 
figures of life size. The Virgin, half-stoop- 
ing, half-kneeling, listens tremulously to the 
announcement of Gabriel, who, with out- 
stretched wings and carrying the lily of 
purity, points upwards with his forefinger ; 
scene, the portico of a palace, with a moun- 
tainous landscape beyond; in the back- 
ground the donor, Canon Malchiostro, 
kneeling. Painted in 1519 for S. Niccolo. 
Injured by splits, cleaning, and repainting. 
—C. & C., Titian, i. 222; Burckhardt, 719. 

By Titian, S. Salvatore, Venice ; canvas, 
ficures life size; signed. The Virgin, kneel- 
ing, looks around at winged angel; above, 
four angels and many cherubs flutter above 
the Dove, rays from which are darting to- 
wards Mary’s head. Painted about 1565. 
Engraved by C. Cort.—Vasari, ed. Mil, vii. 
449; C. & C,, Titian, u. 353; Burckhardt, 
722. 

By Titian, Scuola di San Rocco, Venice ; 
canvas, figures life size. The Virgin kneels 
at her desk near a pillar ; angel to the left, 
with the lily in one hand, points with the 
other to the Dove descending. Painted 
about 1525 ; bequeathed in 1555 by Amelio 
Cortona to brotherhood of S. Rocco.—C. & 
C., Italy, i. 304 ; Burckhardt, 717. 

Subject treated also by Niccold Alunno, 
Perugia Gallery, Bologna Gallery; Fran- 
cesco Albani (2), Louvre; Annibale Car- 
racci, Bologna Gallery ; Francesco Francia, 
Bologna Gallery, Galleria Estense, Modena, 
Brera, Milan ; Dosso Dossi, Ferrara Gallery ; 
Lorenzo di Credi, Louvre, Uffizi ; Simone 
di Martino, Uffizi; Timoteo Viti, Brera, 
Milan ; Federigo Barocci, Vatican; Am- 
brogio Lorenzetti, Siena Academy ; Filippo 
Lippi, Palazzo Doria, Rome, Naples Mu- 
seum; Munich Gallery, National Gallery, 
London ; Petrus Cristus, Madrid Museum, 
Berlin Museum ; Agnolo Gaddi, Louvre, 
Uffizi; Taddeo Bartoli, Siena Academy ; 


Carlo Crivelli, Stidel Gallery, Frankfort ; 
Antonio and Pietro Pollajuolo, Berlin Mu- 
seum; Rogier van der Weyden, Antwerp 
Museum ; Garofalo, Uffizi ; Pinturicchio, 8. 
M. Maggiore, Spello; Correggio, Annun- 
ziata, Parma (fresco, lately removed) ; Gior- 
gio Vasari, Louvre; Le Sueur, Louvre; 
Charles Jalabert (1852). 

ANSALDO, ANDREA or GIOVANNI 
ANDREA, born at Voltri in 1584, died in - 
Genoa, Aug. 20, 1638. Genoese school ; 
pupil of Orazio di Luca Cambiaso and stu- 
dent of Paolo Veronese, among whose fol- 
lowers he is generally classed ; painted nu-, 
merous frescos in churchesin Genoa, Voltri, 
Tortona, and Sarzano, and in palaces in 
Genoa. Chief work, the cupola of ?Annun- 
ziata del Guastato. His best picture in oil 
is a Deposition from the Cross, Academy, 
Genoa.—Lanzi, iii. 269; Ch. Blane, Ecole 
génoise ; Soprani, 141; Baldinucci, xi. 479 ; 
Meyer, Kiinst. Lex., ii. 80. 

ANSANO or SANO DI PIETRO DI 
MENCIO or DOMENICO, born in Siena, 
Noy. (?), 1405, died in 1481. Sienese school ; 
pupil of Stefano di Giovanni (Il Sassetta), 
who, dying in 1460, while painting a fresco 
of the Coronation of the Virgin over the 
Roman Gate of the city, left it to be finished 
by Sano. Sano has been called the Sienese 
Angelico from the sweetness and depth of 
his religious feeling, but his types are alto- 
gether different, his forms rounder, and his 
feeling less spiritual. The faces of his Ma- 
donnas and Saints are lit up by round- 
shaped, placid eyes of a gentle and almost 
pathetic expression. Tender in colour, and 
most careful in execution, Sano had little 
feeling for light and shade. He is most 
agreeable in his miniatures where the figures 
are small and their defects in drawing less 
observable than in his panels, of which the 
Siena Academy contains many examples. 
Among these are a Virgin and Saints (1444), 
and an Ascension of the Virgin (1479). His 
fresco of the Coronation of the Virgin (1445), 
in the Municipal Palace, Siena, and Madonne 
and Saints in a chapel of the Osservanza, 


48 


ANSCHUTZ 


are the most important of his larger works 
in his native city. Many other pictures in 
European galleries. His skill as a miniatur- 
ist is shown in an Antiphonary, a Breviary, 
and a Psaltery in the so-called Library of 
the Cathedral at Siena. — Vasari, ed. Le 
Mon., vi. 183; Rio, i. 114; Milanesi, Siena, 
170. 

ANSCHUTZ, HERMANN, born in Cob- 
lentz, Oct. 12, 1802, died in Munich, Aug. 
30, 1880. History painter; pupil of the 
Dresden Academy, in 1820, under Hart- 
mann and Mathii, and from 1822 in Diissel- 
dorf of Cornelius, who called him to Munich 
in 1826, with Eberle and Kaulbach, to paint 
the ceiling-frescos in the Odeon. In 1830- 
31 he studied antique wall-painting in Pom- 
peii, executed decorative works in Munich, 
and then devoted himself to painting relig- 
ious subjects in oil. In 1874 he was ap- 
pointed professor at the Munich Academy. 
Works : Fresco paintings in the Odeon, Mu- 
nich (1827) ; Large altarpiece (1857), Cob- 
lentz; Resurrection, Assumption (1861).— 
Meyer, Kinst. Lex., ii. 82 ; Kunst-Chronik, 
xs, 

ANSCHUTZ, THOMAS P., born in Ken- 
tucky, in 1851. Subject painter; pupil of 
Thomas Eakins and of Pennsylvania Acad- 
emy. At present assistant professor of 
painting and drawing at the Pennsylvania 
Academy in Philadelphia. Works: Iron- 
worker's Noon-time (T. B. Clarke, New 
York) ; The Way they Live, Farmer’s Wife 
(1880). 

ANSDELL, RICHARD, born in Liver- 
pool in 1815, died in April, 1885. Genre 
and animal painter ; self-taught, exhibited 
first at Royal Academy in 1840; removed 
to London in 1847; visited Spain in 1856 
and 1857; elected an A. R. A. in 1861 and 
R. A. in 1870. Pictures of animals painted 
between 1843 and 1850 show Landseer’s in- 
fluence ; in 1850-60 painted chiefly domestic 
animals in association with Creswick, who 
added the landscape backgrounds. Medal, 
Paris, 3d class, 1855. Works: Death of Sir 
W. Lambton at Marston Moor (1842) ; The 


4 


Death (1843) ; Mary Queen of Scots return- 
ing from the Chase (1844); Fight for the 
Standard (1848); Mules Drinkine—Seville, 
Ploughing — Seville, The Water Carrier 
(1857); Spanish Shepherd (1858) ; Sheep- 
Washing in Glen Lyon (1859) ; Lost Shep- 
herd, Buy a Dog Ma’am (1860); Hunted Slave 
(1861); Going to the Festa at Granada 
(1863); Highland Spate (1864); Poacher at 
Bay, Treading out the Corn (1865); Feeding 
the Goats in the Alhambra (1871); West 
Highlands (1872); Gathering the Herd, The 
Tethered Yowe (1873); Anxious Mother 
(1875) ; Wandering Minstrel (1876); Home 
of the Red Deer (1877); Stray Lamb, On 
Guard (1879); Farm of the Alhambra, Lucky 
Dogs, Morning Rehearsal (1881); Return- 
ing from Fair at Seville, Vega of Granada 
(1882); Water Carriers of the Alhambra, 
Hunting the Boar (1883).— Meynell, 218 ; 
Art Journal (1860), 233; Sandby, 11. 346 ; 
Meyer, Kiinst. Lex., 11. 82. 

ANSELMI, MICHELANGELO, born in 
Lucea in 1491, died in Parma after 1554. 
Lombard school ; called sometimes Michel- 
angelo “da Lucca,” and oftener ‘da Siena.” 
Pupil in Lucca of Il Sodoma, and afterwards 
at Parma a disciple and imitator of Cor- 
reggio. In 1522, when Correggio was en- 
gaged to paint the cupola and the tribune 
of the Cathedral of Parma, Anselmi was se- 
lected, with Rondani and Parmigianino, to 
decorate the chapels, but the work was not 
begun until 1548. He painted at Parma fres- 
cos still extant, in the church and cloister of 
S. Gio. Evangelista, before 1522. Also two 


altarpieces in the Duomo, Parma, one dated 
1526 ; March to Calvary and Holy Family 
in Academy, 

@ 
donna and elope 
Saints, Lou- 
vre; Corona- 

Steccata, Parma.—Lanzi, ii. 899 ; Ch. Blanc, 
Ecole lombarde ; Meyer, Kiinst. Lex., 11. 86. 
ANSIAUX, JEAN JOSEPH ELEONORE 


Parma ; Ma- 
tion of the Virgin (fresco), in Madonna della 
ANTOINE, born in Liége, in 1764, died 


49 


ANSUINO 


in Paris, Oct. 20, 1840. History painter ; 
studied at Antwerp and in Paris with F. A. 
Vincent ; he attained distinction through his 
pleasing talent and a certain skill of treat- 
ment, received several medals and the L. of 
Honour. Works: Kleber in the Battle of 
Heliopolis (1799); Sappho and Leda (1801); 
Angelica and Medor (1810); Assumption 
(1812) ; Resurrection (1812) ; Conversion of 
St. Paul (1814), Liége Cathedral ; Richelieu 
introducing Poussin to Louis XIIL (1817), 
Bordeaux Museum; Rinaldo and Armida 
(1817) ; Education of Cupid, Judgment of 
Paris, Diana’s Nymph (1819), Return of the 
Prodigal Son (1819), Town Hall, Liége ; St. 
Paul at Athens, St. Etienne, Paris; Scourg- 
ing of Christ, Metz Cathedral; Resurrection, 

Arras Cathedral ; 


Mans Ca- 
thedral; Erection 
of the Cross, Angers Cathedral; St. John 
censuring Herodes, Finding of Moses, Lille 
Museum.—Meyer, Kiinst. Lex., ii. 90. 

ANSUINO or ANSOVINO DA FORLLI 
Paduan school (1443-1460). Pupil of Squar- 
cione, co-labourer with Mantegna in the dec- 
oration of the Eremitani, and with Pizzolo 
and F'ra Filippo in the chapel of the Podesta 
in the Santo. The Adoration of St. Christo- 
pher in the Eremitani is his work. In it 
Paduan art begins to present the character 
afterwards known as Mantegnesque, without 
showing much progress in the blending of 
light and shade, or feeling in the production 
of tone.—C. & C., N. Italy, i. 312; Meyer, 
Kinst. Lex., ii. 91. 

ANTENORIDES or ANTORIDES, paint- 
er, mentioned as pupil of Aristides.—Pliny, 
xxxv. [111]. 

ANTHONISSEN, H. (Hendrik?) VAN, 
flourished middle of 17th century. Dutch 
school; marine painter in style of J. van 
Goyen and Jan Parcellis. Works in Her- 
mitage, St. Petersburg and Prague Gallery. 

ANTHONY, MARK, born at Manches- 
ter, England, in 1817. Landscape painter ; 
pupil of his uncle, George W. Anthony, 


landscape painter (died 1859); studied in 
Paris from 1834 to 1840, when his first 
picture was exhibited at the British Insti- 
tute. Influenced by the Pre-Raphaelite 
school. Works: Lake of Killarney (1845), 
bought by Prince Albert; Sunday Morn- 
ing (1846), Harvest Home (1847), Elm at 
Eve (1850), Village Bridal (1851), Monarch 
Oak (1852), Stratford on Avon (1853), Stone- 
henge (1859), Hesperus (1860), Relic of Feu- 
dal Time (1863), Rest for the Weary (1865), 
Lerida—Spain (1869), Night and Storm 
(1871), Hazlewick Mill—Sussex (1872), Even- 
song (1873), Incident by the Wayside (1878), 
Trawlers—Morning (1883).—Meyer, Kinst. 
Lex., 1. 101. 

ANTHONY, ST., TEMPTATION OF, 
Pieter Brueghel, the younger, Dresden 
Gallery ; copper, H. 11 in. x 1 ft. 3 in.; 
signed, dated 1604. The Saint praying in 
his cell at left, is tempted by a beautiful 
young woman, richly habited, who is ac- 
companied by numerous demons; at right, - 
a rocky country, with buildings in back- 
ground.—Réveil, xii. 837. 

By Lucas van Leyden, Dresden Gallery ; 
wood, round; diam. 9 in. St. Anthony retired 
apart to pray, is tempted by the Demon in 
the form of a young and pretty woman, 
richly dressed, holding in her hands a scep- 
tre and a casket, indicative of power and 
wealth.—Réveil, xii. 844. 

By David Teniers, younger, Berlin Muse- 
um; canvas, H. 2 ft. 8in. x 3 ft. 10 in.; signed, 
dated 1647. The Saint kneels in anxiety be- 
fore a stone altar, the corners of which are 
shooting out into heads of monstrous beasts ; 
beside him stands an old hag who is placing 
before him a Brabant beauty, offering a 
goblet of wine; around him are imps in 
many forms, twitching at his garments and 
performing all manner of mad tricks, sing- 
ing, shouting, and screaming; and the air 
is filled with flying demons and reptiles.— 
Kugler (Crowe), 326; Smith, ix. 408. 

By David Teniers, younger, Louvre, Paris; 
wood, H. 2 ft. x 1 ft. 8in. The Saint kneel- 
ing in a grotto before a book placed against 


50 


ANTHONY 


a skull on a rock, beside a crucifix and an 
hour-glass; around him, demons in many 
forms. Collection of Louis XVUI.—Villiot, 
Cat. Louvre. 

By David Teniers, younger. Examples in 
Amsterdam, Dresden, Vienna, and Madrid 
Galleries, and in private collections. 

By Tintoretio, S. Trovaso (SS. Gervasio e 
Protasio), Venice; canvas. The Saint sur- 
rounded by a demon, trying to pull off his 
mantle, and three female figures; the one 


Wo) 


Z Ro NU 
A yes 
\ ba so 
Ps i] 
j 1) N 
ij MT a 
Ze) Hf! i" eA 
h Pi Y LES <4 
f ULERY) Y)p | CAN "A\ 
ML YY), a My 
Mf YL {| ae jj \ 
yy y. ‘4 : 
5 ( i 
‘ 
fe 
pes 


Pe, 


eo 


pad 

4 (\ Pye } = 

<4 a{\ / Hie 
int) ! 4 } 


ft.2in. St. Anthony enthroned on a pedestal 
with alabaster panels; at sides, SS. Corne- 
lius and Cyprian ; in front,'a page kneeling 
holding a large volume. From 8. Antonio, 
island of Torcello, near Venice.—Eastlake, 
Brera, 82; Ridolfi, Marav., 11. 52. 
ANTHONY THE ABBOT AND PAUL 
THE HERMIT, Velasquez, Madrid Museum ; 
canvas, H. 8 ft.4in. x 6ft. St. Anthony in 
white and St. Paul in brown robe, seated 
before a grotto, thanking Heaven for food 


yr CL NE WN, 
es ao Ge APONTE 
red , ed} ii 
= a [i ee: 


5 Sete 
aR 
=I 


S 


Fa MN ) & OL i 
Loan Sea 


Temptation of St. Anthony, Pieter Brueghel, the younger, Dresden Gallery. 


on the left, representing avarice, a bright- 
eyed Venetian beauty, has one hand in a 
vase of coins, while she shakes golden 
chains with the other; the one on the other 
side, a type of the lusts of the flesh, ap- 


pears to have been baffled for the time ; the, 


recumbent one may possibly mean indo- 
lence. A picture of careful finish and noble 
workmanship. Engraved by Agos. Carracci 
(1582).—Ruskin, Stones of Venice, i. 360; 
Bartsch, xviii. 69. 


ANTHONY THE ABBOT, ST., Paolo 
tino and Anthony the Abbot, the latter with 


Veronese, Brera, Milan ; canvas, H. 9ft. x 6 


brought them by a raven ; at left, two lions 
making a grave, while St. Anthony is pray- 
ing over dead body of St. Paul. Painted in 
1659 for Hermitage of S. Antonio at Buen 
Retiro. Original sketch sold for £25 at 
King Louis Philippe sale.—Madrazo, 590 ; 
Curtis, 8. 

ANTHONY OF PADUA, ST., GLORY 
OF, Moretto, 8. M. delle Grazie, Brescia; can- 
vas, life size. St. Anthony of Padua with 
the palm, seated high up in a large niche, 
beneath which stand SS. Nicholas of Tolen- 


51 


ANTHONY 


the staffand bell.—Ridolfi, Maraviglie, 1. 345; 
C. & C., N. Italy, ii. 405 ; Burckhardt, 736. 

ANTHONY OF PADUA, ST., AND IN- 
FANT JESUS, Murillo, Baptistery of the 
Cathedral, Seville ; canvas, H. 18 ft. x 10 
ft.11 in. The Saviour, attended by cher- 
ubs and angels, descends in a glory to visit 
the Saint, who, kneeling in his cell, wel- 
eomes him with outstretched arms; on a 
table, an open book and vase of lilies; at 
left, cloisters seen through an open door. 
Murillo’s largest painting and the first no- 
ticed in any printed book. Painted in 1656 ; 
in November, 1873, the picture was muti- 
lated by thieves, who cut out the figure of 
St. Anthony; the stolen part, much damaged, 
was offered in New York, Jan. 2, 1875, to 
William Schaus, the picture-dealer, who 
bought it for $250 and returned it to 
the Spanish consul, and it was reinstated in 
its old place with much ceremony, October 
30, 1875, after skilful restoration by Sefior 
Cubells. Lithographed by Aug. Lemoine. 
—Curtis, 210; C. Boutelont, Estudio de 
S. Antonio de Murillo (Seville, 1875) ; A. de 
Latour, Comment un tableau de Murillo fut 
volé (Sceaux, 1878); Gaz. des B. Arts, Feb., 
1875 ; Graphic (London), June 30, 1875; 
Harper’s Weekly, Feb. 20, 1875. 

By Murillo, Berl Museum ; canvas, H. 
5 ft, 5in. x 6 ft. 6 in. The Saint, kneel- 


Se « MN VY) Oss: 1F- 

CO. N. Bo eae 
AOE ugve: 
gee 7 e She 


eS 


ing, presses his cheek to that of Infant 


Jesus, whom he holds in his arms; five 


cherubs in a glory, and two others on 
ground at left ; background, hilly landscape. 
Probably picture taken by Soult in 1810, 
with aid of a troop of infantry, from Convent 
of 8. Pedro de Alcantara, Seville ; bought in 
Paris in 1835. Engraved by A. H. Payne ; 
lithographed by Locillot de Mars; centre - 
only engraved by Caspar, Schultz, and L. 
de Mars. Study in bistre, J. C. Robinson, 
London. Repetitions, with changes: Dud- 
ley House, London ; Henry Hucks Gibbs, 
London ; Munro sale (1878),. £2,362 (Karl 
of Rosebery ?).—Curtis, 212 ; Cean Bermu- 
dez, 11. 58 ; G. de Leon, ii. 198. 

By Murillo, Hermitage, St. Petersburg ; 
canvas, H. 8 ft. 2 in. x 5 ff 6 an. ‘The 
Saint, full length, kneeling, encloses in his 
arms, without touching, the Infant Jesus, 
who stands on the open book of the Gos- 
pels placed on a rock, his right hand in 
benediction, his left in St. Anthony’s right ; 
above, five cherubs. Belonged to M. Laneu- 
ville; purchased in 1852 for 30,000 fr.— - 
Curtis, 214; Cat. Hermitage, 130. 

By Murillo, Seville Museum ; canvas, H. 
6 ft. 3in. x 4 ft. The Saint, three-quar- 
ters length, with lilies in right hand, kneel- 
ing and embracing the Infant Saviour, 
who stands on an open book, with his 
right hand on the Saint’s head. Painted 
about 1676 for Capuchin Convent, Seville ; 
placed in Museum in 1840. Repetition: 
Condesa de la Mejorada, Seville.—Curtis, 
212. 

By Murillo, Seville Museum; canvas, 
H. 9 ft. 5 in. x 6 ft. 8 in. The Saint, 
full length, kneeling, with lilies in right 
hand, embraces with left the Infant Sav- 
iour, who, seated on an open book, places 
his right hand on the Saint’s head ; above, 
four cherubs. Painted about 1676 for Ca- 
puchin Convent, Seville ; placed in Museum 
in 1840. Probably finest of Murillo’s pic- 
tures of the subject.—Curtis, 211; Robin- 
son, Great Painters (London, 1877) wrongly — 
called St. Francis. 

By Elisabetta Sirani, Bologna Gallery ; 
canvas, H. 6 ft. 4in. x 5 ft. 4in. The In- 


52 


ANTIDOTUS 


fant Jesus standing, nude, upon a richly 
draped altar, on which are burning candles, 
lilies, and an open book, is embraced by St. 
Anthony, who kneels on a stool before it ; 
above, cherubs’ heads in clouds, and, at 
right, an angel, with wings extended and 
hands raised. Formerly in 8. Leonardo, 


St. Anthony of Padua, and Infant Jesus, Elisabetta Sirani, Bologna 
allery. 


Bologna. Engraved by G. Mitelli; G. Ros- 
aspina.—Pinac. di Bologna, PI. 37. 

ANTIDOTUS, pupil of Huphranor and 
master of Nicias, about 350-330 Bc. Be- 
longed to the Theban-Attic school, so called 
because it originated in Thebes and was 
transferred, after the decadence of that city, 
first to Corinth and then to Athens, always 
preserving its original traditions. His works, 
among which were a Warrior, a Wrcstler,and 
a Trumpeter, were severe in style and elabo- 
rate in treatment. Pliny is the only an- 
cient writer who mentions him.—Pliny, 
xxxyv. 40 [130] ; Brunn, ii. 193. 


ANTIGNA, JEAN PIERRE ALEXAN- 
DRE, born in Orléans, France, March 7, 
1818, died March 8, 1878. Religious and 
genre painter; pupil of Paul Delaroche. 
Medals in 1847—48-51-55 ; Legion of Hon- 
our, 1861. Works: Birth of Christ (1841) ; 
Vision of Jacob (1842); Temptation of St. 
Anthony (1843) ; Women Bathing (1845) ; 
Storm (1846), Avignon Museum ; Conflagra- 
tion (1850); Inundation of the Loire (1852), 
Luxembourg Museum; Children Dancing 
(1853) ; The Emperor visiting the Slate- 
Workers of Angers during the Inundation 
of 1856 (1857), Arigers Museum ; Scene of 
the Civil War, Steep Decline, Noon-day 
Sleep (1859); The Mirror in the Woods, 
Episode of War in La Vendée (1864), Bor- 
deaux Museum ; Rising Sea, After the Tem- 
pest (1874) ; Yvonne and Marc, Two Voices 


“||(4875); Women and the Secret (1876); 


Game of Strength, Fire of the Féte of St. 


| John (1877) ; L’Enfer (1878).—Larousse ; 


Meyer, Kiinst. Lex., 11. 103. 

ANTIOCHUS, GABINIUS, pupil of Sopo- 
lis, who is referred to by Cicero (Ad. Att., iv. 
16) in connection with a lawsuit of 53 Bac. 
—Brunn, 1. 305. 

ANTIOPE, Correggio, Louvre; wood, 
transferred to canvas, H. 6 ft. lin. x 4 ft. 
A nymph, nude, asleep on blue drapery 
spread on the ground in a thicket, with 
Cupid sleeping on a lion’s skin at her feet; 
near her head a satyr (Jupiter?) holding up 
the garment he has lifted from her form. 
Formerly called ‘‘ Venus, a sleeping Cupid, 
and a Satyr.” A masterpiece. Painted 
about 1521 (?); in Gonzaga Collection, 
Mantua, in 1627; Collection of Charles I 
of England in 1630, when valued at £1,000 ; 
sold to Jabach, and passed to Cardinal 
Mazarin and Louis XIV. Engraved by 
Godefroy, Basan, Queverdo, Chataigner, 
Massard, Blanchard. — Meyer, Correggio, 
337, 491; Kimst. Lex., i. 437; Musée fran- 
gais, i; Landon, Q(éuvres, viii. Pl 61; 
Musée, iv. Pl. 1; Filhol, vi. Pl. 415. 

ANTIPHILUS, pupil of Ctestdemus, latter 
half of fourth century nc. Born in Egypt, 


53 


ANTOLINEZ 


but went early to the court of Philip of 
Macedon. The latter part of his life was 
spent at the court of Ptolemy Soter, who 
is said to have had him sold into slavery 
for falsely accusing Apelles. Among his 
works were a portrait of the young Alexan- 
der ; a group of Athena, Philip, and Alexan- 
der ; a Dionysus ; an Hippolytus alarmed at 


Antiope, Correggio, Louvre. 


the bull ; a Cadmus and Europa, preserved 
in the Curia of Pompey, Rome; a Satyr with 
a panther’s skin, shielding his eyes from 
beams of light coming from a fixed point ; 
and a boy blowing the fire with his breath. 
Though he had great fertility of invention 
and skill in managing the effect of light, 
Pliny places him in the second rank of ar- 
tists ; but Quintilian mentions him among 


the most eminent painters of his age.— 
Pliny, xxxv. 37 [114], 40 [138]; Brunn, ii 
247. 

ANTOLINEZ, Don JOSE, born in Seville 
in 1639, died in Madrid in 1676. Spanish 
school ; pupil of Francisco Rizi; became a 
good colourist, his best works being land- 
scapes with small figures. Works: Magda- 
len, Madrid Museum ; St. An- 
thony of Padua, Academia S. 
Fernando, Madrid; Concep- 
tion, Madonna.in Glory, Mu- 
seo Fomento, ib.; St. Jerome 
in a Cavern, Munich Gallery. 
—NStirling, iii. 1106 ; Viardot, 
211; Meyer, Kiinst. Lex., ii, 
115 ; Madrazo, 345. 

ANTOLINEZ Y SARABIA, 
Don FRANCISCO, born in 
Seville in 1644, died in Ma- 
drid in 1700. Spanish school ; 
nephew of José Antolinez; 
studied law at first, but en-- 
tered school of Murillo and 
became an amateur of consid- 
erable skill, painting especial- 
ly small religious subjects, 
sometimes on copper. Went 
in 1672 to Madrid, obtained a 
provincial judgeship, but did 
not hold it long, and returned 
to Seville and painted secretly 
while practising as an advo- 
cate. Works : Nativity, Seville 
Cathedral; St. Joseph and In- 
fant Jesus, St. Joseph Dream- 
ing, Duc de Montpensier, San 
Telmo ; Purification of Virgin, 
Adoration, Flight into Egypt, 
Annunciation, Marriage of Virgin, Museo 
Nacional, Madrid.—Stirling, iii. 1108 ; Viar- 
dot, 212 ; Ch. Blane, Ecole espagnole ; Mey- 
er, Kunst. Lex., ii. 115 ; Curtis, 342. 

ANTON VON WORMS. See Woensam. 

ANTONELLO DA MESSINA, born in 
Messina about 1444, died in Venice about 
1493. Neapolitan school ; said to have been 
a pupil of Colantonio del Fiore, but this 


ae s. Se 7 
ERY 


54 


ANTONELLO 


is doubtful. Probably first instructed in 
Sicily, where he worked for several years ; 
went to Naples and saw an oil picture 
painted by Jan Van Eyck in the possession of 
King Alphonso of Aragon. Struck with the 
superiority of the new method he went to 
Bruges to study it, and in 1465 returned to 
introduce it into Italy. After remaining at 
Messina for about seven years, he went to 
Venice (1473) where he remained the rest 
of his life. That he there met Domenico 
Veneziano and taught him how to paint 
with an oil medium is doubtful, if not im- 
possible, as that artist died in 1461 at Flor- 
ence, and as neither he nor any other Ve- 
netian artist until long after 1465 painted 
otherwise than in tempera. It is also well 
to say that while we have no positive evi- 
dence that Antonello went to Flanders, it 
was not necessary for him to do so in order 
to learn the Van Eyck method, for not only 
were Flemish pictures. brought into Italy, 
but several distinguished scholars and fol- 
lowers of Van Eyck, such as Roger van der 
Weyden, Memling, Hugo van der Goes, and 
Justus of Ghent worked in Italy about the 
middle of the fourteenth century. That 
Antonello was acquainted with the oil 
method, and influenced by the Flemish 
school, is evident in his earliest extant work 
(1465), The Saviour, National Gallery, Lon- 
don, as in a bust picture of the same sub- 
ject (1470), in the Gaetano Zir Collection, 
Naples. A progress in technic is visible 
over these pictures in an altarpiece (1472) 
at S. Gregorio, Messina, which shows the 
same Flemish influence in drapery and use 
of gold. After 1473, when Antonello went 
to Venice, he painted three small portraits, 
one of which is lost, one was lately disposed 
of at the Hamilton sale, and one (1475) is 
in the Louvre, Paris, where it shines as a 
masterpiece of truth to life, intensity of ex- 
pression, and exquisite finish. The small 
Crucifixion, Antwerp Museum, belongs to 
the same year. The portrait of a young 
man in the Berlin Museum (1478) is one of 
the finest of Antonello’s pictures, and the 


first in which the flesh tints are clear 
like those of Gio. Bellini, instead of be- 


ing of the reddish hue common to the 


Flemish school. The much restored St. 
Sebastian, Stidel Institute, Frankfort, be- 
longs to the same late Venetian period 
of Antonello’s career, as do the Madonna 
(?) and the St. Sebastian, Berlin Gal- 
lery. There seems to be no doubt that 
this remarkable painter adopted and taught 
the Flemish system of painting, which grad- 
ually spread over Italy and raised oil to a 


level with fresco painting, and that through 
his manner and mode of representation he 
had great influence upon the technical 
development of Italian Art. 
painter he was tacitly admitted by his con- 
temporaries to be the originator of the 
models improved in subsequent years by the 
higher genius of Bellini, Giorgione, and Ti- 


As a portrait- 


* ANTONEILVS*MESSA 'NESIS+ P+ 


tian.—Meyer, Kinst. Lex., ii. 118; Eastlake, 
Materials, 192; Lermolieff, 416; C. &C., 
N. Italy, ii. 77; Vasari, ed. Mil., ii. 563, 575 ; 
Gaz. des Beaux Arts (1862), 12; Ch. Blane, 
Ecole napolitaine ; Litbke, Gesch. ital. Mal., 
i, 558. 

ANTONELLO DA PALERMO, of Paler- 
mo, beginning of sixteenth century. Nea- 
politan school; son of the painter Antonio 
Crescenzio. In 1527 he was assistant to the 
sculptor Gazino, and in 1537 and 1538 he 
made copies of Raphael’s Spasimo, now pre- 
served in the Monastery of Fazello near Sci- 
acca and in the Church of the Carmelites in 
Palermo. The only composition by which 
we can judge him is a Madonna dated 1528 
in La Gangia of Palermo. It is of an at- 
tractive design and carefully finished, but 
faulty in execution.—C. & C., N. Italy, ii. 
116; Di Marzo, Belle Arti in Sicilia, 111. 
157; Meyer, Kinst. Lex., ii. 128. 

ANTONELLO DE SALIBA, of Messina, 
end of fifteenth and beginning of sixteenth 
century ; either born in Messina or early 
settled there. Neapolitan school; formerly 
held to be identical with Antonello da Mes- 


ANTONINUS 


sina, but now recognized as an independent 
artist. The earliest work bearing his signa- 
ture is a Madonna in S. M. del Gest, near 
Catania, dated 1497. His drawing is care- 
ful and accurate but hard, his style is 
marked by timidity of chiaroscuro and mo- 
notony of flesh-tint, and his use of gold 
superabundant.—C. & C., N. Italy, u. 111; 
Meyer, Kinst. Lex., 11. 127. 

ANTONINUS, ST., GLORY OF, Lorenzo 
Lotto, S. Giovanni e Paolo, Venice ; canvas, 
arched, figures life size; signed. The beat- 
ified bishop of the Florentines enthroned, 
ministered to by angels ; in the sky behind, 
a glory of cherubs; beneath the throne, the 
agents of his charity stoop from a gallery to 
give the maidens in waiting their marriage 
portions. Painted about 1530.—Vasari, ed. 
Mil, v. 250; C. & C., N. Italy, 11. 521; Rio, 
ii. 291. 

ANTONIO DI CATALANO, the elder, 
born at Messina, lived 1560-1630. Roman 
school; pupil of Guinaccia; studied and 
copied, in his native town, works of Poli- 
doro da Caravaggio ; afterwards taken by a 
Jesuit artist to Rome, where he studied 
chiefly Raphael and Baroccio ; later became 
acquainted with the works of Correggio in 
Parma. Went thence to Bologna, where he 
kept close alliance with Francesco Albani 
and Girolamo Bonini, and, owing to his re- 
lation to the Roman school, was called Il 
Romano. He laboured in Bologna for a 
number of years, and is said to have been 
called to Malta, whence he returned to Mes- 
sina. His pictures please through their 
graceful figures and harmony of colour, but 
are open to criticism for the great sameness 
in the angels’ faces. Worksin the Museum 
and churches of Messina.—Meyer, Kiinst. 
Lex., ii. 157; Malvasia, ii. 189, 196. 

ANTONIO DI CATALANO, the younger, 
born at Messina, lived 1585-1666. Neapoli- 
tan school ; son and pupil of the above, but 
influenced by Giovanni Simone de’ Co- 
mandé. He painted a great deal and rapid- 
ly, which was then considered as indicative 
of genius. Few of his works are noteworthy. 


—Meyer, Kiinst. Lex., 11. 158; Kunstblatt 
(Stuttgart, 1825), 230. 

ANTONIO DALLA CORNA, of Cremona, 
latter half of fifteenth century. Lombard 
school. The only. picture which bears his 
name is dated 1478, and is in the Bignami 
collection at Casal Maggiore. In this he 
claims to be a pupil of Mantegna, though 
he really caricatures the disagreeable feat- 
ures of that master. Crowe and Cavalca- 
selle think him identical with Antonio da 
Pavia.—C. & C., N. Italy, ii. 78, 440 ; Meyer, 
Kiinst. Lex., 1. 144. 

ANTONIO DA CREVALCORE, | fiour- 
ished about 1480. Bolognese school ; fruit 
and flower painter. A half-length Madonna, 
Berlin Museum, is signed by him and dated 
14[9]3(?). Haisstyle in it is not unlike that 
of Bernardino of Perugia.—C. & C., N. Italy, 
1. 556 ; Meyer, Kiinst. Lex., ii. 143. 


ANTONIO DA FERRARA, born about _™ 


1370-80, died after 1489. Lombard school ; 
real name Antonio Alberti; pupil of Agnolo- 
Gaddi ; married in Bologna Calliope, sister 
of Timoteo Viti. Only one signed picture 
by him exists, a Madonna Enthroned (14389), 
in the sacristy of S. Bernardino, outside 
Urbino. It is a rudely executed tempera, 
by an artist of second or third rate talent. 
—C. & C., Italy, ii. 225 ; Meyer, Kiinst Lex., 
ii. 136. 

ANTONIO EL INGLES, portrait, Velas- 
quez, Madrid Museum ; canvas, H. 4 ft. 7 in. 
x 3 ft.4 in. A dwarf with long hair, in 
brown dress and wide lace collar, standing 
beside a black and white mastiff; in right 
hand, his plumed hat. Latest manner. 
Etched by B. Maura; Laguillermie.—Cur- 
tis, 833; Gal. Esp.; Madrazo, 631. 

ANTONIO DA MURANO, flourished 
1444-1451. Venetian school. Sansovino 
says he lived till 1470, in which year he 
decorated parts of S. Apollinare, Venice, 
but this is doubtful. He worked at first in 
partnership with one Giovanni Alamanno 
(the German), otherwise called Giovanni da 
Murano. Ridolfi calls him a brother of An- 
tonio, thus making him a member of the 


56 


ANTONIO 


family known later as the Vivarini; but 
Brandolesi has proved that no Giovanni 
Vivarini existed; and Antonio, though a 
brother of Bartolommeo Vivarini, is not 
known to have used the name Vivarini, 
which is first given to him by Sansovino. 
An Adoration of the Magi at Berlin, painted 
by Antonio between 14385 and 1440, shows 
that he was an accomplished painter before 
he entered into partnership with Giovanni 
Alamanno. In 1440 they founded a work- 
shop at Murano, where during the next 
seven years they executed many altarpieces, 
chiefly for churches in Venice. They clev- 
erly absorbed the principles taught by Gen- 
tile da Fabriano and Vittor Pisano (Pisanel- 
lo), and though they did not add much to 
previous experience as regards contrast by 
light and shade, they imbued their works 
with a more tender spirit and gave greater 
softness to their figures. The earliest work 
attributed to them is a Coronation of the 
Virgin, dated 1440, in the Academy of Ven- 
ice, a repetition of which, dated 1444, is in 
S. Pantaleone, Venice. In S. Zaccaria, 
Venice, is a large picture in three compart- 
ments, signed and dated 1445. Two other 
altarpieces in the same church are similarly 
signed and dated. A Madonna with Saints 
in the Academy, Venice, is dated 1446. An- 
tonio afterward worked with his brother 
Bartolommeo, who took the name of Vivarini 
in his later years. In 1450 they painted the 
Madonna of the Carthusians, Bologna Gal- 
lery. Other examples by them are the 
Glorification of St. Peter in the Public Gal- 
lery of Padua (1451 7%), and two pictures of 
Saints in the Sacristy of S. M. della Salute, 
Venice. Antonio’s later works, executed 
alone after 1464, are comparatively feeble. 
—C. & O., N. Italy, i 19; Meyer, Kiinst. 
Lex., ii. 140 Ch. Blane, ficole vénitienne ; 
Sansovino, Ven. Desc., 185, 269 ; Lermolieff, 
395, 396. 

~ ANTONIO DA NEGROPONTE, first half 
_ of fifteenth century. Venetian school ; imi- 
tated the eccentric style of Jacobello del 
Fiore. His colossal Virgin in Adoration, in 


San Francesco della Vigna, Venice, almost: 
his only.example, is lavishly decorated with 
low embossments and plastic ornaments.— 
C. & C., N. Italy, i. 11; Meyer, Kiinst. Lex., 
i. 143. 

ANTONIO DA PAVIA, of Pavia, begin- 
ning of sixteenth century. A superficial 
follower and imitator of Mantegna, who is: 
registered among the workmen in the Pa- 
lazzo del Té in 1528. A signed Madonna, 
tempera on canvas, is in the Museo Virgili- 
ano, Mantua. Crowe and Cavalcaselle think 
him identical with Antonio dalla Corna.— 
C.& C., N. Italy, i i. 419, 11. 73, 440 ; oe 
Kiinst. Lex., ii. 155. 

ANTONIO VENEZIANO, born in Venice, 
latter half of fourteenth century. Floren- 
tine school. Vasari says he died in 1384, 
aged seventy-four, but documents prove that 
he was living two years later. Family name. 
probably Longhi, baptismal name Antonio 
Francisci de Venetiis. According to Vasari, 
he was a pupil of Agnolo Gaddi, but his style 
is rather that of Taddeo Gaddi. Larliest. 
record of him is in the archives of Siena, 
where he worked in 1370 with Andrea Vanni 
on the ceilings of the cathedral. In 1386-7 
he painted frescos in the Campo Santo, Pisa, 
representing scenes in the legend of 8S. Rai- 
neri. Vasari calls it the finest and best work 
in the building. The parts not obliterated 
appear to justify the assertion and to prove 
that Antonio was no common artist. The 
frescos of the ceiling in the Cappellone dei 
Spagnuoli, Sta. Croce, may possibly be his 
work. Naturalism was the moving principle 
of his art, and as he pursued the imitation 
of nature in many moods, he forms an im- 
portant link in the chain which unites Or- 
cagna to Masolino, Angelico, and Masaccio. 
—C. & C., Italy, i. 480 ; Vasari, ed. Le one 
ii. 171; Siret, 956; Meyer, Kiinst. Lex., 
132. 

ANTONY AND CLEOPATRA, MEET- 
ING. OF, Alma-Tadema, Samuel Hawk Col- 
lection, New York. Cleopatra rowed in her 
barge across the harbour at Alexandria to 
meet Mare Antony, whose barge swings 


57 


ANTROPOFF 


alongside, his rowers tossing their oars in 
salutation as the Queen approaches. She is 
reclining on an ivory throne under an awn- 
ing of cloth of gold wreathed with roses ; 
on her left crouches a negress—a sistrum 
player, on her right a white flute player ; on 
a lower stage three priests of Isis burn in- 
cense. Antony rises from his seat with an 
expression of mingled surprise and anger as 
Cleopatra affects not to see him. Grosvenor 
Gallery, 1883.—Portfolio (1883), 42; Athe- 
neeum, Jan. 13, 1883, 60. 

ANTROPOFF, ALEXEI PETROVICH, 
born in 1716, died in 1795. Russian his- 
tory and portrait painter. Decorated a 
church in Kiev in 1752, painted the ceilings 
in the Palace Golowin, Moscow, in 1756. As 
a portrait painter imitated Rotari, and was 
popular in St. Petersburg. He founded 
there the first school for the painting of 
altar pictures, and was among the painters 
sent to Moscow to represent the festivities 
at the coronation of Catherine IL, whose 
portrait he painted. Also painted portraits 
of Peter II. (1761) and of Peter the Great 
(1769). Among his religious pictures are 
The Trinity (1784), and Paul and Mary Mag- 
dalen (1788).—Meyer, Kiinst. Lex., ii. 161; 
Brunn, ii. 286. 

ANTUM, AART VAN, flourished about 
1604-8. Dutch school ; marine painter in the 
manner of Hendrik Vroom. Works: Naval 
Battle (1604), Berlin Museum; Marine 
(1608), National Gallery, Amsterdam ; do., 
Madrid Museum.—Meyer, Konigl. Mus., 15. 

APATURIUS, from Alabanda, Caria, 
fourth century 8. c. Scene painter, said to 
have shown great skill in decorating the 
small theatre at Tralles.—Vitruv., vii. 5, 4. 

APELLES, most famous of Greek paint- 
ers, pupil of Hphorus, of Pamphilus, and of 
Melanthius ; born probably in Colophon, 
Ionia, though Pliny and Ovid eall him of 
Cos, and Strabo and Lucian of Ephesus ; 
flourished 352-308 ps. c. The best part of 
his life was spent at the court of Philip and 
Alexander the Great, of both of whom he 
painted many portraits. Alexander forbade 


58 


any one else to paint his likeness. Apelles 
probably accompanied Alexander into Asia, 
for he painted at Ephesus several pictures 
of him, one of which, for the rebuilt Temple 
of Diana, represented him with thunderbolts 
in his outstretched hand. This, which Plu- 
tarch says was the best portrait of the king, 
gave rise to the remark that Philip’s Alexan- 
der was invincible and Apelles’s inimitable 
(Alex. 4; Fort. Alex. 2). In another picture 
Alexander was represented in a triumphal 
chariot foliowed by a chained figure of War; 
and in a third, walking with Castor and Pol- 
lux and the Goddess of Victory. Pliny says 
(xxxv. 36) the last two pictures were placed 
by the Emperor Augustus in the Forum, 
and that Claudius had the head of Augustus 
substituted in each for that of Alexander. 
Apelles painted portraits also of Clitus, An- 
tigonus, Neoptolemus, and other followers 
of Alexander, and a nude picture of Cam- 
paspe or Pancaste, Alexander’s favourite con- 
cubine. Pliny says that the artist fell in - 
love with her and that the king gave her to 
him; also that she was his model in his 
painting of Venus Anadyomene; but Athen- 
eeus (xiil.) avers that the courtesan Phryne, 
whom the artist had seen at Eleusis going 
naked into the sea at the Festival of Posei- 
don, served him in this capacity. This, the 
masterpiece of Apelles, represented the god- 
dess rising from the sea. In it the painter 
reached the acme of that grace and sensuous 
charm for which his art was especially dis- 
tinguished. The picture was painted for 
the temple of Aisculapius at Cos. Augustus 
paid 100 talents for it and took it to Rome, 
where he dedicated it in the Temple of Ju- 
lius Czesar, who claimed descent from the 
goddess. There it decayed in time, as no 
one dared to repair it, though Dorotheus 
made a copy of it. Pliny says that Apelles 
was painting another Venus for the people 
of Cos, at the time of his death, which would 
have excelled the first. 
works were a King Archelaus on horseback, 
a Diana and her Nymphs sacrificing, an An- 
ceeus, and a Hercules. After the death of 


Among his other _ 


APOLLO 


Alexander Apelles went to Egypt, where he 
was favourably received by King Ptolemy, 
notwithstanding the jealousy of the court 
painter Antiphilus, who accused him of tak- 
ing part in a conspiracy. The charge being 
disproved, Antiphilus was sold into slavery 
and Apelles took a painter’s revenge in an 
allegorical picture of Calumny, from Lu- 
cian’s minute description of which Botticelli 
painted a well-known picture now in the 
Uffizi. It was perhaps when on his way to 
Alexandria that Apelles visited Rhodes to 
see Protogenes. Finding him absent from 
his studio the visitor, says Pliny (xxxy. 36) 


and the next day the cobbler proceeded to 
criticise the leg, whereupon the artist bade 
him stick to his last. From this arose the 
saying “Ne sutor ultra crepidam” (Let not 
the shoemaker go beyond his last). Once, 
too, when Alexander the Great attempted to 
criticise one of his pictures, Apelles advised 
him to be silent,as the colour-boys were laugh- 
ing at him. Apelles was unsurpassed in dili- 
gence, and never allowed a day to pass with- 
out its accomplished task. He carried his art 
to the highest degree of excellence, surpass- 
ing all who had preceded him. Ionic elegance 
and charm were blended in his style with 


Apollo and Daphne, Fr. Albani, Louvre. 


drew with a brush upon a panel a line so 
fine that Protogenes, when he saw it, knew 
that only Apelles could have done it. Draw- 
ing a still finer line, he went away again, and 
Apelles on his return divided the two with 
one even more subtile. Seeing this, Proto- 
genes owned himself conquered and went 
to seek his guest. Apelles shamed the 
Rhodians into recognizing the merits of his 
ereat rival by offering an immense sum for 
his pictures, and said that he himself ex- 
celled him in one thing, viz., that he knew 
when to stay his hand. Among other anec- 
dotes of him told by Pliny (1. c.) is that of 
the cobbler who detected a fault in a shoe 
of one of his figures. Apelles corrected it, 


universal testimony of ancient writers that 
his best work exhibited an indefinable grace 
of conception and refinement of taste and feel- 
ing such as that of no other painter ever had. 

APOLLO AND DAPHNE, Fr. Albani, 
Louvre; copper, H. 64 in. x 1 ft. 2 in. 
Daphne closely pursued by Apollo, flies 
toward her father, the river Peneus ; above, 
Cupid, in a cloud. Daphne was changed 
into a laurel as Apollo was about to seize 
her.—Villot, Louvre; Filhol, v. Pl. 338; 
Landon, Musée, x. Pl. 66. 

By Ant. Pollajuolo, National Gallery, Lon- 
don; wood, H. 11 in. x 74 in. Daphne in 
the embrace of the god, who has just caught 


se severity and correctness, and it is the 


59 


APOLLO 


her as she flies toward the Peneus ; herarms 
have already sprouted into laurels.—Cat. 
Nat. Gal. 

APOLLO AND MARSYAS, Claude Lor- 
rain, Earl of Leconfield ; canvas, H. 3 ft. 9 


in. x 5 ft. Liber Veritatis, No. 95. Engraved 
by Muller. Collections Passart, Haye, 
Sir T. Coke. Another Apollo and Marsyas 


(Liber Veritatis, No. 45), formerly in Crozat 
Gallery, now in Hermitage, St. Peters- 
burg.—Pattison, Claude Lorrain, 231, 246. 


CAA i) 


Apollo and Marsyas, Guercino, Palazzo Pitti, Florence. 


By Guercino, Palazzo Pitti, Florence ; 
canvas, H. 5 ft. 11 in. x 6 ft. 7 in. Apollo 
nude, is flaying Marsyas, who lies upon his 
back with his hands bound to a tree upon 
which are suspended a violin and bow; be- 
hind Apollo, two figures, partially concealed, 
are looking on. Engraved by Massard; L. 
Martelli.—Wicar, ii. Part 17; Gal. du Pal. 
Pitti, i. Pl. 6. 

By Guido Reni, Munich Gallery ; canvas, 
H. 6 ft. 10 in. x 5 ft. 3 in. Apollo flaying 
Marsyas ; the lyre of the god hangs upon 
atree. Figures life size. 

By Raphael, Camera della Segnatura, 


Vatican ; fresco, on ceiling, Apollo seated, 
with his lyre in his hand, is ordering a 
shepherd to flay Marsyas, who is bound to 
a tree ; another shepherd holds a laurel 
crown over Apollo’s head. Painted in 1511. 
The victory of Apollo is that of true over 
false art which merits punishment. En- 
eraved ‘by R. Wibert.—Passavant, ii. 89 ; 
Mintz, 347. 

By Raphael, Louvre, Paris ; wood, H. 154 
in. X 114 in. Apollo sianatue with a staff, 
listens disdainfully to the 
strains of a pipe played by 
Marsyas, who is sitting on a 
bank ; background a land- 
scape with river, hills, and a 


town. Painted in Perugia 
in 1504-5 (?). Collection of 
John Barnard; sold in 


1787 to M. Duroveray, at 
whose death, bought in 
1850, by Mr. Morris Moore, 
j of Rome, who sold it to- 
4 the Louvre in 1883 for 
| £8000. Authenticity de- 
nied by Waagen, Passavant, 
and Miindler, but their 
opinion not generally ac- 
cepted. Has been attribu- 
ted to Mantegna, and with 
more reason to Timoteo | 
Vitii—C. & C., Raphael, i. 
209; Passavant, 11. 354; 
Mintz, 224 ; Gruyer, Raph- 
ael et VAntiquité, ii, 421; Hitelberger, 
Rafael’s Apollo und Marsyas, Vienna (1860) ; 
Batté, Le Raphael de M. Morris Moore, Paris 
(1859) ; Graphic, London, May 26, 1883. 

APOLLO AND THE MUSES. See Mu- 
ses, Dance of. 

APOLLODORUS, of Athens; old Attic 
school; about 408 3.c. Dr. H. Brunn re- 


gards him as the first real painter, inas- — 


much as he no longer marked contours by 
actual lines, but represented objects as they — 
appear to the eye. He changed the rigid — 
architectural character of painting, distin- — 
guished before him by a formal and rhyth- — 


60 


APOLLONIO 


mical arrangement of figures, by treating 
his backgrounds in perspective, by connect- 
ing instead of juxtaposing tones, and by re- 
lieving the flat appearance of painted sur- 
faces by a skilful use of light and shade. 
He is classed with Agatharchus as a skio- 
grapher or shadow painter. Pliny (xxxv. 
36) says that he opened the doors of art 
through which Zeuxis entered, meaning 
that he discarded the flat tints and shadow- 
less outlines in use by Polygnotus for 


blended and harmonious tints, chiaroscuro 
effects, and other modern pictorial artifices. 
‘Among his works were an Ajax of Locris on 
a ship struck by lightning, and a Priest 
Praying.—Brunn, i. 51. 

APOLLONIO, GIACOMO, born at Bas- 
sano in 1582-4, died there, Dec. 1, 1654. 
Venetian school; history and landscape 
painter, pupil of Girolamo and Giambattista 
Bassano, and a very happy imitator of their 
style. Works in Italian churches.—Meyer, 
Kiinst. Lex., ii. 178. 

APOLLO, TEMPLE OF, Claude Lorrain, 
formerly at Leigh Court ; canvas, H. 5 ft. 9 


in. x 8 ft. 3in.; signed, dated 1663. A moun- 
tainous, richly-wooded landscape, with sea 
in distance ; in foreground, the Temple of 
Apollo, in which an ox is being sacrificed. 
One of the master’s finest pictures. Liber 
Veritatis, No. 157. Formerly in Palazzo Al- 
tieri, Rome, with its companion, Landing of 
4Aineas, which see, for history. Engraved in 
Miles Gallery, and by W. Woollet (1760). 
Sketches in British Museum and at Wind- 
sor.—Pattison, Claude Lorrain, 220, 232 ; 
Waagen, Treasures, iii. 180. 

APPERT, EUGENE, born in Angers, 
France, Dec. 28, 1814, died at Cannes, March 
8, 1867. History and genre painter, pupil 
of Ingres. Medal of the third class, 1844 ; 
honourable mention, 1855 ; Legion of Hon- 
our, 1859. Works: Sarah and the Poachers 
(1841); Nero gazing at the Corpse of Agrip- 
pina (1842); Vision of St. Ovens (1844), 
bought by State; Assumption (1845) ; De- 
scent from Cross (1846); Death of St. Jo- 
seph (1847) ; An Amour (1850) ; An Informer 
(1852); Adoration of Magi (1853), belongs 
to State; Sisters of Charity in the Crimea 
(1855); Woman Spinning (1857) ; Sedaire 
cutting Stones, The False Scent (1861) ; 
Venice (1863); Pope Alexander LI, Peo- 
nies (1864). — Meyer, Kiinst. Lex., ii. 
187. 

APPIAN, ADOLPHE, born in Lyons, 
France, in 1819. Landscape painter, pupil 
of Corot and Daubigny ; belongs to the 
most recent school of French realists, who 
care more for play of light and shade and 
general effect than for the working out of 
details. Celebrated for his charcoal draw- 
ings. Works: Cattle Market (1865); Bois 
des Roches (1870); Environs of Monaco 
(1873), Luxembourg Museum ; Luxembourg 
Souvenir (1873) ; Panton at Beaulieu (1874) ; 
Environs of Carquéranne (1883).—Meyer, 
Kiinst. Lex., ii. 187; Miller, 16. 

APPIAN WAY IN THE TIME OF 
AUGUSTUS, G. R. C. Boulanger, Mrs. A. 
T. Stewart, New York ; canvas. The Appian 
Way, with tombs and trees in background, 
and passing in front horsemen, chariots, 


61 


APPIANI 


and ladies in Sedan-chairs borne by slaves 
and preceded by naked Africans in silver 
collars and badges, who beat off the 
beggar boys; in foreground, right, flower 
girls seated. Photogravure in Art Treasures 
of America. 

APPIANI, ANDREA, born in Milan, 
March 23, 1754, died there, Nov. 8, 1817. 
Pupil of De Giorgi, and of Giudici; then 
studied in Bologna, Parma, Modena, and 
Florence. Afterward went repeatedly to 
Rome, studied Raphael’s frescos, and be- 
came the first fresco painter of his time. 
After a brilliant career, during which he 
produced many meritorious decorative works 
for churches and palaces in Milan, he 
painted remarkable portraits of prominent 
men, repeatedly that of Napoleon, who 
greatly favoured him. He was struck by 
paralysis in 1813, and losing his pension 
afterward, through the Emperor’s deposi- 
tion, fell into penury, and died of a second 
paralytic stroke. The paintings he executed 
in 1808-12 in the Royal Palace, Milan, the 
best specimens of his art, show good compo- 
sition, correct forms and grace of motion, 
bright colouring and a masterly freedom of 
treatment. Works; Napoleon on the Dan- 
ube, Versailles Gallery; Napoleon sur- 

rounded by allegorical figures, 

Leuchtenberg Gallery, St. 

i 80 8. Basie he baer in fres- 

, Royal Palace, Milan.—Mey- 

er, Kinst. Lex., ii. 100 ; G. Beretta, Opere 
di A. Appiani (Milan, 1848). 

APPIANI, ANDREA, born in Milan 
about 1812, died there, Dec. 18, 1867. His- 
torical genre painter; pupil of Francois 
Hayez, obtained several medals from the 
Accad. 8S. Luca in Rome, and in 1838 the 
great prize of the Milan Academy. Works: 
Petrarch at Avignon, Italian Emigrant Girl 
Caressing the National Colours (1855).— 
Vapereau (1865), 53. 

APPIANT, FRANCESCO, born at Ancona 
in 1704, died at Perugia, March 2, 1792. 
Pupil of Domenico Magatta, then influenced 
by Francesco Trevisani, and later by Fran- 


cesco Mancini. Grief over his wife’s death 
induced him to leave his native town for 
Perugia, of which city he received the free- 
dom, Dec. 2, 1773, and where his principal 
works may be seen in different churches. 
He was one of the most remarkable fresco 
painters of that time.—Meyer, Kinst. Lex., 
IL. 188. 

APSHOVEN, THOMAS VAN, born in 
Antwerp, baptized Nov. 30, 1622, died in 
1664 or 1665. Flemish school; genre and 
still-life painter, pupil of .Teniers, the 
younger, whom he imitated, and many of 
whose works he copied successfully ; master 
of the guild in 1645-46. Works: Rustic 
Scene (1656), Darmstadt Museum ; Still- 
life, Dresden Gallery ; Guard-room, Prague 
Gallery. His brother, Ferdinand, the 
younger (baptized March 1, 1630, buried 
April 3, 1694), was also a pupil and even 
more successful imitator of Teniers, to 
whom several of his pictures are probably 
attributed. Works: Rustic Interior, Rotter- - 
dam Museum; Interior with two Figures, 
Dunkirk Museum.—Meyer, Kiinst. Lex., ii. 
197. 

ARAGO, ALFRED, born in Paris, died 
in 1883. Historical genre painter, pupil 
of Delaroche. Medals: 3d class, 1846; L. 
of Honour, 1854; Officer, 1869. “Works: 
Charles V. at San Yuste (1841) ; Recreation 
of Louis XI. (1846); Petrarch at Virgil's 
Tomb (1847); Abraham viewing Sodom 
and Gomorrah (1852).—Vapereau (1880), 
64. 

ARALDI, ALESSANDRO, born in Parma 
about 1465, died there in 1528-30. Lom- 
bard school; pupil of Cristoforo Caselli; 
first public work an altar-piece painted 
in 1500 for S. Quirino, Parma. Among 
his existing works are a Madonna (fresco), 
Duomo, Parma, dated 1509; Annunciation 
(1514), Parma Gallery, and frescos in 8. 
Paolo and 8S. Sepolecro, Parma. He had no 
originality, and shows a decided leaning 
to the Umbrian models of Francia.—C. & C., 
N. Italy, i. 589; Meyer, Kiinst. Lex., ii. 
| 209. 


62 


ARBASIA 


ARBASIA, CESARE, born at Saluzzo 
about middle of 16th century, died in 1614. 
Italo-Spanish school; employed in Spain, 
where he executed frescos for churches and 
palaces, in 1579-81-86; must have re- 
turned to Italy about 1595, as he was one 
of the originators and first members of the 
Accad. S. Luca in Rome, founded in that 
year. Later painted frescos in Saluzzo and 
neighbourhood, which, according to Miin- 
dler, suggest the manner of Federigo Zuc- 
caro, and of B. Lanini.—Meyer, Kiinst. Lex., 
ii. 213; F. Quilliet, Arti Italiane in Ispagna 
(Rome, 1825), 33. 

ARBELA, BATTLE OF, Albrecht Ali- 
dorfer, Munich Gallery ; wood, H. 4 ft. 11 
in. x 3 ft. 8 in.; signed, dated 1529. A 
spirited battle scene, with thousands of 
small figures on foot and mounted ; in centre 
Alexander and Darius ; background, a land- 
scape with mountains and sea. Painted by 
order of Duke Wilhelm of Bavaria. Carried 
to France in 1800; at St. Cloud a favourite 
picture of Napoleon I. ; returned in 1815. 

By Charles Lebrun, Louvre, Paris; can- 
vas, H. 15 ft. 5 in. x 41 ft.4in. Accord- 
ing to Q. Curtius (IV.), the soldiers of 
Alexander saw, in the height of the battle, 
an eagle hovering over the head of Alex- 
ander, which Aristander, the chief sooth- 
sayer of the king, pointed out as an infallible 
omen of victory. The Macedonians pressed 
on with renewed vigor, and Darius, who was 
mounted upon a lofty chariot, seeing all 
hope lost, sought safety in flight. Series of 
History of Alexander. Engraved by G. 
Audran (1674), D. Bertaux.—Filhol, ii. Pl. 
151; Villot, Cat. Louvre. 

_ARBO, PETER NIKOLAL, born in Dram- 
men, Norway, in 1831. History painter ; 
pupil, in Copenhagen, of Helsted, then from 
1852 at the Diisseldorf Academy under Karl 
Sohn ; studied in Paris in 1861-70. He is 
a knight of the order of Vasa and director 
of the drawing school at Christiania. Works: 
The Walkyries, The Wild Chase, Asgard’s 
Reigen, Christiania Gallery; Ingeborg, 
Bjarke’s and MHjalte’s Death, The Day, 


Scenes from the Thirty Years’ War, do. from 
Time of Louis XIV., Battle of Waterloo.— 
Miiller, 16. 

ARBORELIUS, OLOF PER, born in 
Orsa, Dalecarlia, Nov. 4, 1842. Landscape 
painter, pupil of the Stockholm Academy, 
where he won in 1869 a prize and went in 
1870 to Diisseldorf and later to Rome. 
Paints chiefly Swedish and Italian scenes. 
Works: Cliffs on Swedish Coast in a Storm 
(1874), Stockholm Museum ; Scene from a 
Bear-Hunt.—Miiller, 16. 

ARCADIA, SHEPHERDS OF (Bergers 
d’Areadie), Nicolas Poussin, Louvre, Paris ; 
canvas, H. 2 ft. 9in. x 4 ft. Allegory illus- 
trative of the brevity of life. In the middle 
of a desert plain, with mountains in back- 
ground, three shepherds and a young girl, 
in antique costume, have paused before a 
tomb shaded by trees; at left, the oldest, 
kneeling, points with his finger to the words 
cut in the stone: ET IN ARCADIA EGO. 
Collection of Louis XIV. Engraved by 
Picart le Romain ; M. and A. Reindel. Rep- 
etition in Devonshire House, London, has 
tomb atone side. Thisengraved by Ravenet. 
—Filhol, ii. Pl. 109 ; Landon, Musée, vi. PI. 
37; Musée royal ; Villot, Cat. Louvre. 

ARCANGELO, ANDREA DI CIONE. 
See Orcagna. 

ARCESILAUS, Greek painter, son of the 
sculptor Tisicrates, of Sicyon, about 286 B.c. 
Painted a picture of the Athenian gen- 
eral Leosthenes, which Pausanias (i. 1, 3) 
saw in the Pireus.—Pliny, xxxv. 40, 42 
[146]. 

ARCESILAUS, Greek painter, of Paros, 
probably fifth century B.c. Said by Pliny 
(xxxv. 39 [122]), to have been, with Polyg- 
notus, one of the earliest painters in encaus- 
tic. Perhaps identical with the sculptor, 
son of Aristodicus, on whom Simonides 
wrote an epigram (Diog. Laer. Arces. xxi.). 
A painter of the same name is mentioned by 
Athenzeus (x. p. 420), as a tutor of Apelles. 
—Brunn, ii. 55. 

ARCHER, JAMES, born in Edinburgh 
in 1824. Genre and portrait painter ; 


63 


ARCHERS: 


pupil of Thomas Duncan in the Trustees’ 


Academy, Edinburgh; exhibited in 1849 
first picture, Last Supper, at Royal Scottish 
Academy; elected an A.R.S.A. in 1850, 
and R.S.A. in 1858. Removed in 1862 to 
London, where he still resides. Visited the 
United States in 1884. Works: Time of 
War (1857); Hidden Sorrow (1858) ; Fair 
Rosamond and Queen Eleanor (1859) ; 
Playing at Queen (1861); Puritan Suitor 
(1865) ; Times of Charles I. (1867) ; Against 
Cromwell (1869) ; Sir Patrick Spens (1870) ; 


ae 


ae 


i ¥. 


a: a 
28 
R 


ATs 
Sah ‘3 SS we 


rn. 
3 
WEG 


os 
» —o~, ao 
SAR Ste”, ! 
—— 


oh 


WY 
s Ew Wits 
A va Pa 
MA 
= .\ UD: = ak 
Bees reall i 
——- pe ROO, ss Lee 
ape a 


Henry Irving as Mathias in “The Bells” 
(1872) ; Irving as Charles I. (1873) ; Spring- 
tide (1875); Little Bo-Peep (1876): Rose 
(1877) ; Trysting Tree (1878) ; Sacrifice to 
Dionysus (1879) ; Betrothal of Burns and 
Highland Mary (1881); Peter the Hermit 
preaching the First Crusade (1883) ; St. 
Agnes, in the Second Century (1884) ; por- 
traits of James G. Blaine, Andrew Carnegie 
(1884).—Meyer, Kiinst, Lex., ii. 248. 
ARCHERS OF ANTWERP, David Ten- 
ders, Hermitage, St. Petersburg ; canvas, H. 
4 ft. 5in, x 7 ft, 9 in, Represents a meeting 


U 
ar’ aN 
Ze Bix fe 
‘fh Wy! a, ii 
Wi force SSY- |i mee 


4) 
TA « ae 4G Aro 


of the company of cross-bow men, on some 
public occasion ; capital picture, many fig- 


ures. Formerly in Hesse-Cassel Collection ; 
then at Malmaison, whence passed to Her- 
mitage.—Smith, iii. 265, 

ARCHERY PRIZES, AWARD OF. See 
Syndics of the Arquebusiers. 

ARCHIGALLUS, picture, 
SiUs. 

ARCO, ALONSO DEL, born in Madrid 
in 1624, died there in 1700. Spanish school ; 
born deaf and dumb; pupil of Pereda, 


See FParrha- 


i! 


mo 


IRS 23 
|h x Eos 
Atiin: = 


TUR ie cae 
S01 \)\\ —_ Sigh il 


hii 


<a i = 
a 


y 


= 
Ui, i) 


< 
Al ie 


whence commonly called el Sordillo (the 
dumb) de Pereda. Was a good portrait 
painter. Works in churches of S. Juan de 
Dios, S. Andres, S. Felipe, 8. Bernardo, 
and S. Sebastiano, Madrid; Child Jesus 
sleeping under the Oross, Academia 8. Fer- 
nando ; several pictures in Museo Nacional, 
Madrid.—Stirling, iil, 1006 ; Meyer, Kunst. 
Lex., ii, 221, 

ARDICES, painter, Corinth, early period. 
Mentioned by Pliny (xxxv. 5 [15]), in con- 
nection with Telephanes of Sicyon, as first 
to use shading lines within outline drawings, 


64 


AREGIO 


AREGIO, PABLO DE, beginning of 
16th century. Spanish school; painted in 
1506, with Francisco Neapoli, scenes from 
the life of the Virgin on twelve panels of 
the wings of the high altar of Cathedral at 
Valencia, for which the two were paid 3000 
ducats. Their manner resembled so much 
that of Leonardo da Vinci that they were 
called his pupils. They also painted part 
of the walls in fresco. St. Catherine, col- 
lection of Don Pedro Pelegner, Madrid.— 
Stirling, i. 97 ; Meyer, Kiinst. Lex., 11. 232 ; 
Tiibinger Kunstblatt (1823), 33. 

AREGON, Greek painter, of Corinth, 
early period. Strabo says (viii. 3, 12) that 
his picture of Diana riding upon a oriffin 
was preserved in the Temple of Artemis 
Alpheeonia, near Olympia.—Brunn, ii. 597. 

ARELLANO, JUAN DB, born at Santor- 
caz in 1614, died in Madrid, Oct. 12, 1676. 
Spanish school ; scholar of Juan de Solis, 
but unsuccessful until thirty-six years old, 
when he began to copy the flower pieces of 
Mario del Fiori (Nuzzi), and finally won 
wealth and fame as a painter of flowers, 
fruits, and birds. Six flower pieces in Mad- 
rid Museum. Decorated the sacristy of the 
church of St. Jerome at Madrid with gent, 
flowers, etc. Works in Academia S. Fer- 


ue Pee Heel lano 


nando and Museo Nacional, Madrid.— 
Stirling, ii. 718; Ch. Blanc, Ecole espag- 
nole ; Meyer, Kinst. Lex., 11. 232 ; Madrazo, 
348. 

ARELLIUS, Roman painter, first century 
pc. Profaned his art, Pliny says (xxxv. 37 
[119]), by painting goddesses in the like- 
ness of his mistresses.—Brunn, 1i. 305. 

ARETINO, or D’AREZZO, SPINELLO. 
See Spinelli, Spinello. 

ARETINO, PIETRO, portrait, Titian, Pa- 
lazzo Pitti, Florence ; canvas, H. 3 fied 
in. x 2 ft. 6 in. Painted in 1545. En- 
eraved, reversed, by F. Petrucci and T. Ver 
Cruys. An earlier portrait by Titian (1527) 


is lost, but a canvas in Palazzo Giustiniani, 
Padua, attributed to Tintoretto, may pos- 
sibly be the original study. Aretino is the 
Pilate in the Ecce Homo of Titian, Vienna 
Museum.—C. & C., Titian, 1. 108, i. 319; 
Gal. du Pal. Pitti, i. Pl. 111; Burckhardt, 
720; Lavice, 77. 

ARETUSL See Pellegrino da Modena. 

ARETUSI, CESARE, born in Modena, 
second half of 16th century, died there in 
1612. Bolognese school ; master unknown, 
but style formed after that of Bagnacavallo. 
Highly successful portrait painter in the 
manner of Correggio, whose pictures he 
copied better than any other painter of the 
time. Worked much in collaboration with 
Giambattista Fiorini, pupil of Bagnacavallo 
and assistant of Zucchero, who was a better 
designer than Aretusi, but inferior as a col- 
ourist. They painted together a chapel in 
S. Petronio, Bologna ; Deposition from the 
Cross, Saints Benedict and Francis de Paul, 
in S. Benedetto ; Nativity of the Virgin, in 
S Giovanni in Monte.—Malvasia, i. 249; 
Lanzi, ii. 410, iii, 50; Ch. Blanc, Ecole bo- 
lognese ; Meyer, Kiinst. Lex., ii. 239; do., 
Correggio, 167, 301, 310. 

ARGONAUTS, EXPEDITION OF, pict- 
ures. See Cydias, Micon. 

ARGUNOFF, IVAN, flourished about 
middle of 18th century. Russian portrait 
painter, instructed by foreign masters, 
enjoyed considerable reputation in St. 
Petersburg. His Cleopatra is in the Mos- 
cow Museum.—Meyer, Kiinst. Lex., 11. 247. 

ARIADNE, Luca Giordano, Dresden Gal- 
lery ; canvas, H. 6 ft. x 8 ft. 6 in., signed. 
Ariadne, abandoned by Theseus, whose ship 
is seen in the distance, sleeping (nude) on 
the shore of Naxos; at left, a crowd of Bac- 
chantes and satyrs announce the coming of 
Bacchus. Engraved by F. Basan. — Gal. 
Roy. de Dresde, i. Pl. 39. 

ARIADNE AND BACCHUS. See Bac- 
chus. 

ARIAS FERNANDEZ, ANTONIO, born 
in Madrid early part of 17th century, 
died there in 1684. Spanish school ; pupil 


65 


ARIENTI 


of Pedro de las Cuevas; painted when 
fourteen years old pictures for high altar of 
the Carmelites in Toledo, and at twenty-five 
reckoned one of the best painters in Madrid. 
Employed with Camilo, Alonzo Cano, and 


other distinguished artists to paint the por- 
traits of the kings of Spain, when the an- 
cient hall of the kings in the Royal Palace 
was renovated. Executed many pictures 
for churches and convents. Works: Trib- 
ute Money, Charles V. and Philip I, Mad- 
rid Museum. Died in want at the general 


ward director of the Bologna Academy. 
Works: Beatrice di Tenda, Jeremiah, Ores- 
tes, Pheedra and, Hippolytus, Francesca da 
Rimini, Origin of the Lombard League 
(Quirinal, Rome) ; Portrait of Bellini (Naples 
Conservatory of Music) ; Barbarossa (Royal 
Palace, Turin).—Kunst-Chronik, viii. 466. 
ARIOSTO, portrait, Titian, Cobham Hall, 
England ; canvas, H. 2 ft. 9 in. x 2 ft. 1 in; 
signed. The poet is walking, the upper 
part of his body seen in profile behind a 
parapet, the face turned toward the specta- 


oF at ay 5 
F 
a Est ne 
aoe. >. 
CES 
‘ tod od. ‘ 


me 4 : 
25 4 
= ay ae ? 
a “PS es aS 
Sak acta = 4 


S 
<: 
Mic ae 


f 
/ihih 


Sue, 


a = 


SS 
a 
cos sama 


Ariadne, Luca Giordano, Dresden Gallery. 


hospital of Madrid.—Stirling, ii. 715; Viar- 
dot, 284; Meyer, Kiinst. Lex., ii. 248 ; Ma- 
drazo, 350. 

ARIENTI, CARLO, born in Milan in 
1800, died in Bologna, April 3, 1873. 
History painter, pupil of the schools of the 
Brera, Milan; was professor at the Milan 
Academy when called to Turin by King 
Charles Albert, who ordered him to paint 
for the staircase of the palace a victory of 
the Italians over the Austrians. This exiled 


him from Milan, but he was made president 
of the Academia Albertini, Turin, and after- 


tor. History unknown; not certainly a 
portrait of Ariosto, but may be the picture 
of the Lopez collection, sold in London in 
time of Charles L; and this in turn may 
have been the portrait which Baruffaldi says 
was sent to Padua in 1554 by Ariosto’s son 
Virginio. The copy formerly in the Palazzo 
Manfrini passed to Barker collection in 1857, 
and was afterward sold. Other copies in 
the Vicenza Gallery, in the Tosi collection 
at Brescia, and in the Butler-Johnstone col-~ 
lection, London.—C. & C., Titian, i. 197; 
Baruffaldi’s Ariosto, 251, 


66 


ARIOSTO 


ARIOSTO, portrait, Titian (?), National 
Gallery, London ; wood, transferred to can- 
vas, H. 2 ft. 84 in. x 2 ft. Half length, in 
a crimson and purple dress; an open but 
sensual face, the hair falling in masses on 
the neck, one hand playing with a rose, the 
other holding a pair of gloves. Answers 
the description given by Ridolfi in 1646 of 
a picture in the Renier collection, Venice. 
Might have been painted by Pellegrino da 
San Daniele or Dosso Dossi (C. & C.). Ac- 
quired by National Gallery in 1860.—C. & 
C., Titian, i. 197 ; Ridolfi, Maraviglie, i. 210 ; 
Campori, Raccolta di Cataloghi, 442. 

ARISTARETE, painter, daughter and 
pupil of Nearchus. Pliny (xxxv. 40, 43 [147]) 
says she was noted for her picture of A‘scu- 
lapius.—Brunn, 1. 300. 

ARISTLEHUS, painter, Thebes, Theban 
Attic school, father and master of Nicoma- 
chus, lived probably in the first part of the 
fourth century B. c.—Pliny xxxv. 36 [108] ; 
Brunn, ii. 159. 

ARISTIDES, Greek painter, of Thebes, 
Theban Attic school, brother and pupil of 
Nichomachus ; pupil also of Euxenidas and 
master of Kuphranor ; probably about 376- 
336 8. c. Though hard as a colourist, he 
was an admirable draughtsman and master 
_ of the most subtile shades of expression. 
He rendered these with surpassing power 
in his Captured City, in which a mother was 
represented lying mortally wounded in a 
street, with her infant vainly striving to 
draw nourishment from her breast. Alex- 
ander the Great carried off this picture from 
Thebes to Pella. King Attalus of Pergamus 
offered 400 talents for his Dionysius, which 
Mummius carried from Corinth to Rome, 
and dedicated in the Temple of Ceres, where 
it was finally burned (31 3. c.). Mnason, 
tyrant of Elatea, paid Aristides 1000 mine 
for his picture of a Persian battle, which 
contained a hundred figures. Other pict- 
ures by him are mentioned by are: (XXXv. 
36).—Brunn, i. 171. 

ARISTOBULUS, second-rate painter, of 
Syria.—Pliny, xxxv. 40 [146] ; Brunn, ii, 286. 


ARISTOCLEIDES, Greek painter, date 
unknown. Decorated Temple of Apollo at 
Delphi. — Pliny, xxxv. 40 [138]; R. R., 
Schorn, 225 ; Brunn, i. 298. 

ARISTODEMUS, painter, of Caria, about 
200 8. c. Philostratus refers to him more 
especially as a writer on painting (Prooem. 
Icon. p. 3, Didot), but says he painted 
after the manner of Humelus.—Brunn, i. 
309. 

ARISTOLAUS, Greek painter, son and 
pupil of Pausias, about 308 B. c. Pliny says 
(xxxv. 40 [137]) his style was severe, and 
mentions among his works an Epaminondas, 
a Pericles, a Medea, a Theseus, an emblem- 
atical picture of the Athenian People, and 
a Sacrifice of Oxen.—Brunn, u. 154. 

ARISTOMACHUS or ARISTOMENES, 
painter, of Thasos. Vitruvius (11. Prooem. 
2) says through adverse circumstances he 
did not obtain renown equal to his merit. 
Among his works was a votive picture of 
three women, dedicated by them in the 
Temple of Aphrodite as a thank-offering 
for wedded happiness. He is called also 
Arimnes and Arimenes.-—Varro de Ling. 
Lat., ix. 6,12 ; Brunn, ii. 301. 

ARISTOMENES. See Aristomachus. 

ARISTON, Greek painter, of Thebes, son 
and pupil of Aristides. Only recorded work 
is a Satyr crowned with vine leaves, holding 
a goblet in his hand.—Pliny, xxxv. 36 [122]; 
Brunn, i. 181. 

ARISTONIDAS. See Mnasitimus. 

ARISTOPHON, Greek painter, son of 
Aglaophon of Thasos and brother of Polyg- 
notus, about 456 s.c. He was of the old 
Attic school, which knew nothing of per- 
spective, foreshortening, or oppositions of 
light and shade, and painted in broad, flat 
tones, with only four colours, white, red, 
yellow, and black, His works were distin- 
guished for their expressive qualities. He 
painted Philoctetes (Plut. De And. Poet. 3), 
and Anceus wounded by the boar, subjects 
which gave opportunity for the display of 
his capacity for rendering what the Greeks 
call pathos, an all-pervading emotion of pain, 


67 


ARMAND 


whether physical or mental.—Pliny, xxxv. 40 
[138]; Brunn, i. 53. 

ARMAND - DUMARESQ, CHARLES 
EDOUARD, born in Paris, Jan. 1, 1826. 
Genre painter, especially of military scenes ; 
pupil of T. Couture. In 1854 he accom- 
panied the French troops to Algiers and 
Italy, to paint battle scenes and camp life. 
Medal: 3d class, 1861, 1863; Order of St. 
Maurice, 1859; L. of Honour, 1867; Offi- 
cer, 1881. Works: Christ (1850), Church 
of Déle; St. Bernard preaching a Crusade 
(1852); Martyrdom of St. Peter (1853), 
Cathedral of Caen; Attributes of the Arts 
and Sciences, Death of General Kirgener, 
Second Zouaves in Ambush (1855) ; Capture 
of the Great Redoubt in the Battle of Mos- 
kowa (1857) ; Death of General Bizot (1859), 
Versailles Museum; Battle of Solferino (1859); 
Charge of Devaux’s Division (1862); Prince 
Imperial taking a Walk, Vive l’Eimpereur 
(1864) ; Colour Guard, Chaplain of the Regi- 
ment, Battle of Solferino, Passage of the 
Adda (1865); Charge of Cuirassiers at Eylau, 
Chasseurs on Foot,Carrying off the Wounded 
(1866); Charge of Cuirassiers (1867); Return 
from Elba (1868); Day before Austerlitz, 
Day before Solferino (1869); Defence of St. 
Quentin (1872) ; Signing the Declaration of 
American Independence (1873) ; Council of 
War, The Spy (1874); Surrender of York- 
town, a Prussian Uhlan (1875); Battle of 
Saratoga (1879) ; Prince of Wales reviewing 
the Grenadiers in 1777 (1880) ; Battle of 
Bapaume, Each in his Turn (1883); Lecture 
de l’Annuaire de la Cavalerie (1884).—La- 
rousse ; Meyer, Kiinst. Lex., ii. 260; Bel- 
lier. 

ARMENINI, GIOVANNI BATTISTA, 
born at Faenza in 1540, died there, May 13, 
1609. Roman school; went when fifteen 
years old to Rome, where he was allied with 
Taddeo Zuccaro, and copied Michelangelo’s 
Last Judgment. From 1557 he wandered 
for nine years through Italian cities, mostly 
working for, or coéperating with other ar- 
tists, and finally became a priest. He wrote 
a book on the theory of painting, which, as 


late as the last century, was valued in Italy 
and Germany.—Meyer, Kinst. Lex., ii. 261; 
Gualandi, Mem., ii. 78, 192. 

ARMIDA. See Rinaldo. 

ARMITAGE, EDWARD, born in Lon- 
don, May 20, 1817. History painter ; pupil 
in Paris (1836) of Paul Delaroche, whom 
he assisted in painting the Hemicycle in 
the Paris Ecole des Beaux Arts. In 1840 
he sent Prometheus Bound to the Paris 
Salon, and in 1843 he was awarded a prize 
of £300 at the Westminster Hall Exhibition, 
for his cartoon of the Landing of Cesar in 
Britain. His cartoon, The Spirit of Religion, 
gained a prize of £200 in 1845, and his Battle 
of Meanee (Sindh), a prize of £500 in 1847. 
The latter was purchased by the Queen. In 
1852 he painted the fresco of the Thames, 
and in 1854 that of the Death of Marmion 
in the Parliament House. Having studied 
two years, 1849-51, in Rome, he visited the 
Crimea during the Russian war, and made 


important studies from which he painted . 


Balaklava and the Guards at Inkerman. 
Elected A. R. A. in 1867, R. A. in 1872; ap- 
pointed professor and lecturer on painting 
at Royal Academy at 1875. His lectures 
were published in the United States in 
1883. Works: Death of Nelson, Henry 


VIIL and Catherine Parr (1848) ; Vision of 


Ezekiel (1850); Samson (1851); City of 
Refuge (1853) ; Lotus Eater (1854); Ravine 
at Inkerman (1856); Souvenir of Scutari 
(1857) ; Retribution (1858) ; St. Francis be- 
fore Innocent III. (1859), Christ and the 
Twelve Apostles (1860), Catholic Church 
at Islington; Pharaoh’s Daughter (1861) ; 
Burial of a Martyr in Time of Nero (1863) ; 
Ahab and Jezebel (1864) ; Esther’s Banquet 
(1865) ; Remorse of Judas (1866) ; Feast of 
Herod (1868); Gethsemane (1870), National 
Gallery ; Simplex Munditiis (1873) ; Julian 
the Apostate (1875) ; Phryne, the Hymn of 
the Last Supper (1876) ; Serf Emancipation 
(1877); Pygmalion and Galatea (1878) ; 
Charity, Samson and the Lion (1881); St. 
Francis and St. Dominic at Rome, One of 
Raphael’s Models, Sea Urchins (1882).—Art 


68 


ree eo) eet 


a. 


ARMSTRONG 


Journal (1863), 177; Portfolio (1870), 49; 
Meyer, Kiinst. Lex., ii. 263. 

ARMSTRONG, THOMAS, born in Man- 
chester, England, in 1835. Figure painter ; 
pupil in Paris of Ary Scheffer. In later years 
he has sought to combine modern French 
style with Pre-Raphaelite simplicity and 
agreeable colour. Works: Josephine, Morn- 
ing, Peach Gathering, The Lesson, exhibited 
at Royal Academy since 1865.— Portfolio 
(1871), 65. 

ARNDT, FRANZ, born at Lobsenz, near 
Posen, Aug. 20, 1842. Landscape and genre 
painter ; pupil at Weimar Art School under 
Alex. Michaelis, and Theod. Hagen ; visited 
Italy in 1872 and 1877, was appointed pro- 
fessor at the Art School in 1876, and secre- 
tary in 1879. His landscapes show close 
study of tree forms; his genre pieces are 
generally humorous in design. Works: 
Elegy, Scherzo (1872), Children’s Jokes 
(1873), Summer Morning, North German 
Church.—Meyer, Kiinst. Lex., 1. 270; 
Miller, 18. 

ARNOLD, HERMANN, born in Munich, 
May 7, 1846. History and genre painter ; 
pupil at Munich Academy under Hilten- 
sperger, Anschiitz, Alex. Wagner, Schrau- 
dolph, and Piloty. Works: Altarpiece, In- 
undation Scene, Schiitzenkénig, Neighbour’s 
Children, Christ ; Dream of Roses (1883).— 
Miller, 18. 

ARNOLD, KARL JOHANN, born in 
Berlin, Aug. 30, 1829. Portrait, animal, 
and genre painter; pupil of the Cassel 
Academy, of the Antwerp Academy, and 
after his return to Berlin of Adolf Menzel, 
who led him through a thorough study of 
nature in all her aspects. Works: Siesta, 
Fanny and her Admirers, Where is Fanny ? 
Welcome in the Green, Hessian Peasant 
Girl, Wicliff Persecuted, the North German 
Parliament, the Great Headquarters at 
Paris, Boar Hunt, Altarpiece ; portraits of 
Louis Spohr, Bettina von Arnim, two of 
King William, German Imperial Family ; 
Dinner in honour of the Congress.—Meyer, 
Kiinst. Lex., ii. 277; Miiller, 18. 


ARNZ, ALBERT, born in Diisseldorf, 


Jan. 24, 1832. Landscape painter, pupil 
of the Diisseldorf Academy, under his 
brother-in-law, Oswald Achenbach, with 


whom he visited Italy and Switzerland. 
Most of his subjects are taken from Rome 
and Naples, though he has also painted 
views in Westphalia and the Nether Rhine 
countries. Works: The Regenstein in the 
Hartz Mountains, Swiss Landscape, Wood 
Landscape with Sheep, Summer Landscape, 
On the Ruins of Rome (1869) ; The Colos- 
seum, Coast near Naples (1871).—Meyer, 
Kiinst. Lex., ii. 297 ; Miiller, 19. 

ARPINO, CAVALIERE D’. 
Giuseppe. 

ARRIVABENE, GIULIO CESARE, born 
in Mantua in 1806. History and figure 
painter; pupil of the Milan Academy, 
from which he received a prize in 1833. 
Afterwards spent several years in Rome, 
where he painted historical pictures, some 
allegories in fresco for a palace, and in 
Mantua and its neighbourhood madonnas 
and saints for churches. Since 1853 he 
has been settled in Florence, and has painted 
mostly scenes from sacred history. Works: 
Ruth, Duke of Sutherland’s Collection ; 
Macbeth, Mr. Waring’s Collection, London. 
—Meyer, Kiinst. Lex., ii. 303. 

ARSENIUS, JOHANN GEORG, born 
at Klemmestorp; Westergothland, Feb. 4, 
1818. Painter of horses; pupil of Wahl- 
bom in 1849-50, and of the portrait painter 
Staaf in 1843. In 1852 he went to Diis- 
seldorf and thence to Paris, where he 
studied under Horace Vernet ; in 1865 be- 
came a member of the Stockholm Academy. 
He is a Lieutenant-Colonel in the Swed- 
ish cavalry. Works: Race (1864); Halt, 
Fire in a Stable (1866) ; Horses Frightened 
by Locomotive, Quarry near Lugnaas, Nor- 
wegian Sledge-Trotter, Grey Span, Dis- 
carded Cavalry Horse, Rigolboche, Jane, 
Lisa Blenda, Stallion Aurico.—Meyer, Kiinst. 
Lex., 11. 305. 

ARSENNE, LOUIS CHARLES, born in 
Paris, Dec. 23, 1780, died there, Aug. 3, 


See. Cesari, 


69 


ART 


1855. Religious painter, pupil of David. 
He illustrated the works of Chateaubriand 
and Lamartine, and wrote a valuable book 
on the fine arts, entitled Painter’s and 
Sculptor’s Manual (Paris, 1833). Works: 
St. Louis Disembarking at Hyéres (1841) ; 
The Pious Women at the Tomb of Christ, 
Jesus in the Garden of Olives. 

ART AND LITERATURE, Adolphe Wil- 
liam Bouguereau, E. Walter, New York. 
Two female figures, full length. Painted 
for the late J. S. Jenkins, Baltimore; sold 
(1881) to Mr. Walter. Photogravuye in Art 
Treasures of America, ii. 76. 

ARTARIA, MATTHIAS, born in Mann- 
heim, June 19, 1814. Genre painter, pupil 
of the Diisseldorf Academy, where he prof- 
ited by intercourse with Andreas Achen- 
bach. He has painted peasant life in Tyrol 
and Spain, as well as medieval subjects. 
Works: Heroic Struggle of the Tyrolese in 
1809 ; Defence of the Iselberg ; Wedding 
in the Ziller Valley, Going to Church Christ- 
mas Night, Munich Gallery ; Postillion, Cas- 
tle Elche, Improviser at a Well, Market Scene 
in Valencia, Guerillas Fleeing, Captive Hu- 
guenots, Arrest of Ravaillac, Guard Room 
in Thirty Years’ War, Maid of Saragossa.— 
Meyer, Kiinst. Lex., ii. 307 ; Miller, 19. 

ARTEMIDORUS, painter, Ist century 
ap. Among his works was a Venus on 
which Martial wrote an epigram (V. 40). He 
was perhaps an historian and amateur 
painter of a bad picture of Minerva.— 
Brunn, ii. 310. 

ARTEMON, painter, place and date un- 
known. His pictures, Apotheosis of Her- 
cules and Laomedon, King of Troy, were 
preserved in the Portico of Octavia, Rome. 
Other works were Danaé with Robbers in 
Admiration ; Queen Stratonice; and Her- 
cules and Dejanira.—Pliny, xxxv. 40 [139] ; 
Brunn, ii. 284. 

ARTHOIS, JACQUES D’, born in Brus- 
sels, baptized, Oct. 12, 1613, died after 
1684. Flemish school ; eminent landscape 
painter ; pupil of one Jan Mertens... His 
compositions, often grandly poetic, with 


| Scriptural subjects in foreground, were fre- 


quently placed in Belgian churches. The 
figures in his pictures are chiefly by Gas- 
pard de Craeyer, Gerard Zegers, David Te- 
niers the younger, and Van Herp. Jacques 
had a brother Nicholas (born 1617) and a 
son Jean Baptiste (born 1638), both of 
whom were painters. Best works in Brus- 
sels, Vienna, Dresden, Madrid, and English 


Tacobuyy} A rlhoy 


private galleries.—Biog. nat. de Belgique, 1. 
437; Ch. Blanc, Ecole flamande ; Meyer, 
Kiinst. Lex., 11. 310. 

ARTISTS, MEETING OF, Velasquez, 
Louvre ; canvas, H. 1 ft. 6 in. x 2 ft. 6 in. 
Thirteen persons, in three groups, standing, 
in conversation ; among them, at left, Velas- 
quez and Murillo. Sometimes called Con- 
versation of Velasquez. Presented to Duch- 
ess of Alba by Don Gabriel, son of Charles . 
Til. ; sold, at her death, and finally bought 
from M. Laneuville in 1851, for 6,500 fr.— 
Ch. Blane, Ecole espagnole ; Art Journal 
(1852), 364; Gaz. des B. Arts (1879), xx. 
237 ; Curtis, 16. 

ARTVELT, ANDRIES VAN, born in 
Antwerp, baptized March 25, 1590, died 
there in 1652. Flemish school; marine 
painter ; master of the guild in 1609-10, 
went to Italy probably after Sept., 1627, but 
had returned to Antwerp in 1630. His por- 
trait of Van Dyck, painted in 1632, is in 
the Augsburg Gallery. Works: Shipwreck 
of Turkish Vessel (1623), Ghent Museum ; 
Naval Battle, Th. van Lerius, Antwerp ; 
Marine, Suermondt Museum, Aix-la-Chap- 
elle ; do. with Men-of-War, Vienna Museum. 
—Meyer, Kinst. Lex., i. 316. 

ASAM, COSMAS, born at Benedict- 
beuern, Bavaria, Sept. 18, 1686, died in 
1742. Italian school; history painter, pupil 
of Ghezzi in Rome, where he won the first 
prize at the Academy. One of the most 
skilful and characteristic imitators of the 
Italian Rococo style, painted chiefly in 


0 


ASCENSION 


fresco, and decorated innumerable churches 
and monasteries in and out of Bavaria, 
working conjointly with his brother Aegi- 
dius, sculptor, notably the Cathedral of 
Freising, 1723-24. He was court painter 
to the Elector of Bavaria. Works: Vulcan 
forging Arms for Aineas, Ceiling in the 
Chapel, Schleissheim Castle ; Decorations 
in Chapel and Staircase, 
Grand-ducal Palace, Mann- 


heim; do. in St. John’s, 

Munich.—Meyer, Kunst. 

Lex., ii. 321. 
ASCENSION (Fr. As- 


cension, Ital. Ascensione, 
Sp. Ascension, Ger. Him- 
melfahrt, Aussteigung), the 
ascension to Heaven of 
Christ after the Entomb- 
ment (Acts i. 9-11). 

By P. Perugino, Lyons 
Museum, France; wood, 
transferred to canvas; fig- 
ures nearly life size. Christ, 
draped below the waist, and 
attended by angels, two on 
each side, is supported by 
two other angels in a glory 
of cherubs’ heads. He 
points upward with both 
hands, where two seraphs 
attend the Eternal, in a cir- 
cular glory of same kind, 
in benediction ; below, the 
Virgin, SS. Peter and Paul, 
and Apostles looking up- 
ward. Formerly central 
part of great altarpiece of 
S. Pietro, Perugia; taken 
to Paris and cleaned in 1815, and given to 
Lyons by Pius VIL—C. & C.,, Italy, i. 
205. 

By Tintoretto, Scuola di S. Rocco, Venice ; 
canvas. Christ ascending, sustained by 
angels. Beneath, a sort of epitome of 
events preceding the ascension; in dis- 
tance, two apostles going to Emmaus; 
nearer, a group round a table set in a 


71 


ee eh 


little valley ; and in foreground a reclining 
figure (St. Peter ?).—Ruskin, Stones of Ven- 
ice, 11. 340. 

Subject treated also by Sebastiano Ricci, 
SS. Apostoli, Rome, Dresden Gallery ; Giotto, 
S. M. dell’ Arena, Padua; Correggio, S. 
Giovanni Evangelisti, Parma; Andrea Or- 
cagna, National Gallery, London ; Tintoretto, 


—— 


Ascension, by Perugino, Lyons Museum. 


Il Redentore, Venice; Rubens, 
Church, Antwerp (burned, 1718). 

ASCLEPIODORUS, painter, sculptor, and 
writer on art, Athens, second half of 4th 
century B.c. Praised by Apelles for skill in 
rendering the relative proportions of objects, 
and regarded by him as his superior in com- 
position. His picture of the twelve great 
gods was purchased by Mnason, tyrant of 


Jesuits’ 


ASHER 


Elatea, for 360 talents.—Pliny, xxxv. 36, 59 
[107]; Brunn, 11. 256. 

ASHER, LOUIS, born in Hamburg, June 
28, 1804, died there, March 7, 1878. His- 
tory and genre painter; pupil in Hamburg 
of Gerdt Hardorf and of Leo Lehmann, 
then from 1821 at the Dresden Academy, 
and in Diisseldorf under Cornelius, whom, 
in 1825, he followed to Munich. In 1827 
he returned to Hamburg; settled in Ber- 
lin in 1830; visited Italy in 1832 and 
1839. Works: Roman Woman at the Well, 
Maria l’Ortolana, King Lear and Cordelia 

(1854), Hamburg Gallery; St. Ce- 
cilia, Resurrection (1851); Albanian 
Shepherd Family (1835); Roman 
Shepherd Boy, Ave Maria, Portrait 
of Jenny Lind.—Meyer, Kinst. Lex., ii. 306. 

ASKEVOLD, ANDERS MONSSEN, born 
in Parish of Askevold, Bergen, Norway, Dec. 
25, 1834. Landscape and animal painter, 
pupil of Reusch in Bergen, and in 1855, of 
Gude in Diisseldorf. Spent four years in 
Paris after 1860. Studio at Bergen. His 
favourite subjects are the Norwegian moun- 
tain pastures ; the figures in them are less 
successful than the cattle, which he repre- 
sents with rare truthfulness.—Meyer, Kiinst. 
TexX., 1 B29. 

ASPER, HANS, born in Ziirich in 1499, 
died March 21, 1571. German school ; his- 
tory and portrait painter, held in much re- 
pute by his fellow citizens, and elected 
member of the great council, in 1545. Of 
his numerous facade decorations but one, a 
lion with shield on the Kyborg Castle door, 
has been preserved. His portraits are ear- 
nest and careful, though dry and uninterest- 
ing. Works: Portraits of Zwingli and 
Daughter, City Library, Ziirich ; 
three portraits (1538), Artists’ Asso- aN 
ciation, Ziirich ; three do. in a pri- 
vate collection at Solothurn.—Meyer, Kiinst. 
Lex., i. 331; W. & W., ii. 484. 

ASPERTINI, AMICO, born in Bologna 
about 1475, died in 1552. Bolognese school ; 
probably pupil of Ercole Roberti Grandi and 
Lorenzo Costa. Was avery rapid painter, who 


G2 


filled the porticoes and covered the facades 
of many churches in his native city ; travel- 
led in Italy and left many works, the earli- 
est in St. Cecilia, Bologna. Between 1506 
and 1510 he painted frescos in S. Frediano, 
Lucca, and in 1514 the front of the library 
of S. Michele in Bosco. His composi- 
tions are poor in arrangement, his figures 
strained in action, and his flesh tones red 
and fiery. As a sculptor his only known 
work, produced in 1526, is the Dead Christ 
in the Arms of Nicode- 
}o mus in the lunette of 
the great portal of S. 
Petronius, Bologna. He 
‘ nl _ {| Showed signs of insan- 
f' nt ity toward the close of 
+@ his life. Among his 
' works are: Adoration 
of Shepherds, Berlin 
Museum; Rape of Sa- 
bines, Madrid Museum; 
Madonna and Saints, 
Lucca Gallery. 
brother, Guido Asper- 
tini, painted an Adora- 
tion of the Magi, Bo- 
logna Gallery.—C. & C., N. Italy, i. 575; 
Vasari, ed. Le Mon., ix. 4, 84; ed. Mil, v. 
179; Meyer, Kitinst. Lex., ii. 337; Ch. 
Blane, Ecole bolonaise; Gualandi, Mem., 
Ist Series, 33 ; 2d do., 9, 11; 3d do., 178. 
ASSCHE, HENRI VAN, born in Brus- 
sels, Aug. 30, 1774, died there, April 10, 
1841. Landscape painter, first instructed 
by his father, an amateur artist, then pupil 
of J. B. de Roy; visited Italy, Holland, 
Germany, and Switzerland ; painted espe- 
cially waterfalls with great skill) Mem- 
ber of Ghent, Brussels, Antwerp, and Am- 
sterdam Academies. Several medals. Or- 
der of Leopold, 1836. Works: Storm 
(1805), Antwerp Museum ; Falls at Toccai, 
Switzerland, View of a Mill, Brussels Mu- 
seum; View near Brussels during Storm, 
Bruges Museum; Rhine View, Falls near 
Rochefort, Haarlem Museum. His niece and 
pupil, Isabella v. A. (born in Brussels, Nov. 


Ah 


His 


4, 2 espa ee mere Dust gts ‘. 


ASSELT 


23, 1794) was also a good landscape painter, 
won first prize by Ghent Academy in 1829. 
Work: View of Boitsfort near Brussels, 
National Gallery, Amsterdam.—Biog. nat. 
de Belgique, i. 500; Messager des Sciences, 
etc. (1841), 293 ; Meyer, Kiinst. Lex., 1. 344. 

ASSELT, JOHANNES VAN DER, flour- 
ished 1364-1386, at Ghent. Flemish school ; 
the earliest Flemish painter whose name is 
known to us. Employed by Louis de Male, 
Count of Flanders ; afterward by Philip the 
Hardy, of Burgundy. Probably painted the 
frescos in the chapel of Notre Dame, Cour- 
trai, full lengths of the Counts of Flanders 
since Philip d’Alsace, now greatly injured.— 
Meyer, Kiinst. Lex., 11. 847; C. & C., Flem- 
ish Painters, 12. 

ASSELYN (Asselin), JAN, called Krab- 
betje, born at | 
Diepen in 
1610, died in 
Amsterdam in 
1660. Dutch 
school; land- 
scape painter, 
pupil of Hsaias 
van de Velde; 
resided in 
Rome from 
1630 to 1645, 
where he was 
influenced by 
Jan Miel and Pieter van Laar. 
View of the Tiber, Landscape with Travel- 
lers, and two other pictures, Louvre ; Swan 
Defending her Nest, Landscape, National 
Gallery, Amsterdam; Italian Landscape, 

Brussels Museum ; Ruined Cas- 
tle, Miinich Gallery ; Woman and 
: Cattle, Sir Th. Baring, England. 
— Kugler (Crowe), iu. 445; 
Meyer, Kiinst. Lex., ii. 348 ; Ch. 
Blane, Keole hollandaise. 

ASSERETO (Axareto), GIOVACCHINO, 
born in Genoa, about 1600, died there, July 
98, 1649. Pupil of Luziano Borzone and of 
Ansaldo. From his sixteenth year he painted 
altarpieces for churches and monasteries in 


Works: 


Genoa, and in 1639 went to Rome ; after his 
return painted chiefly frescos; was in his 
time the best painter in Genoa.—Meyer, 
Kiinst. Lex., ii. 351 ; Lavice, Musées d’Italie, 
114. 

ASSISI, ANDREA D’. See Jngegno. 

ASSMUS, ROBERT, born at Stuhm, 
West Prussia, Dec. 25, 1842. Landscape 
painter; studied from nature and after 
Calame ; went to Berlin in 1859, and was 
much impressed by the works of Trogon 
and Lessing. Supported himself by work- 
ing for illustrated papers, until after the 
war of 1870-71, when he took up landscape 
painting, settled in Munich, visited Upper 
Italy, Hungary, the Baltic Sea, Switzerland, 
ete., and published an illustrated work, 
Alsace-Lorraine, which was most favourably 
received. Works: The Gemmi Pass, Wood 
Lake, View near Stuttgart, Village in the 
Carpathian Mountains, Aussee, Landscape 
in Lorraine, On the Banks of the Weichsel, 
Evening, Windmills in a Storm.—Meyer, 
Kiinst. Lex., ii. 354 ; Miiller, 19. 

ASSUMPTION (Fr. Assomption, Ital. 
Assunzione, Sp. Asuncion, Ger. Maria Him- 
melfahrt), the ascension to Heaven of the 
Virgin after death, according to the legend 
of the Latin and Greek churches. 

By Fra Bartolommeo, Besangon Cathedral, 
France. The Virgin and Child on a throne 
carried by Angels in clouds ; below, left, 
SS. John Baptist, Sebastian, and Stephen ; 
right, the patron Jean Carondelet, kneeling, 
and behind him St. Bernard and another 
gaint. Of the master’s best time. Placed 
first by Jean Carondelet, archbishop of Pa- 
lermo, in his family chapel in 8. Etienne, 
Besancon; after his death (1544) came into 
cathedral.—C. & C., Italy, iti. 477. 

By Fra Bartolommeo, Naples Museum ; 
wood, arched, figures life size. The Virgin, 
rising to heaven, rests one foot on the head 
of a little angel whose hands are crossed 
under his chin; below, SS. John and Cath- 
erine of Alexandria, the latter holding a 
palm, kneel at her tomb, which is filled with 
flowers. Painted in 1516 for S. M. in Cas- 


%3 


ASSUMPTION 


tello, Prato ; on suppression of church sold 
for six scudi to Giulio Porini, chancellor of 
Florence ; sold by him to an Englishman in 
Florence, who transferred it to Mr. Milton 
for 150 zecchini; the latter disposed of it 
to Pius VL. for 3000 Roman crowns ; disap- 
peared from Rome at time of invasion, and 
long supposed to be lost.—Vasari, ed. Mil. 
iv. 193; Marchese, ii. 117; C. & C., Italy, 
iii. 470; Lavice, 200. 

By Sandro Botticelli, National Gallery, 
London ; canvas, H. 12 ft. 3 in. x 7 ft. 5 
in. Below, the Apostles round the tomb of 
the Virgin, with the donor and his wife, 
and views of Florence and Pistoja in back- 
ground ; above, the Coronation of the Vir- 
gin, and below that three circles in the sky, 
each formed of three rows of figures—the 
Patriarchs, Prophets, Apostles, Evangelists, 
Martyrs, Confessors, Doctors, Virgins, and 
Hierarchs. Painted for 8. Pietro Maggi- 
ore, Florence, on commission of Matteo 
Palmieri, who gave the whole scheme for 
the work. Vasari says the painter and his 
patron were charged with heresy, and the 
work was interdicted and covered from view. 
Hamilton Palace sale (1882), £4777 10s.— 
Waagen, Art Treasures, iii. 296; Vasari, ed. 
Mil., 314. 

By Agostino Carracci, Bologna Gallery ; 
canvas, H. 10 ft. 2 in. x 6 ft.1 in. The 
Virgin in glory, upheld by angels; below, 
the Apostles around the tomb. Formerly 
in 8. Salvatore, Bologna; carried to Paris 
in 1796; returned to Bologna in 1815. 
Engraved by Mitelli; G. Wagner ; G. Asioli. 
—Pinac. di Bologna, Pl. 64; Landon; Mu- 
sée, 11. Pl. 40. 

By Annibale Carracci, Bologna Gallery ; 
canvas, H. 7 ft. 10 in. x 4 ft. The Virgin 
in the clouds, borne up and surrounded by 
angels; below, the disciples around the 
empty tomb gazing upward in wonder and 
awe. From the suppressed church of S. 
Francesco, Bologna. Engraved by Mitelli ; 
Rosaspina.—Pinac. di Bologna, Pl. 9. 

By Annibale Carracci, Dresden Gallery ; 
canvas, H. 13 ft. 6 in. x 8 ft. 8 in. The 


Virgin in glory above, with an angel choir ; 
below, the Apostles around the tomb—a 
Roman sarcophagus near a ruined temple. 
Painted for the chapel of 8. Rocco, Reggio ; 
removed to Este Gallery, and thence to 
Dresden. Engraved by J. Camerata.—Gal. 
Roy. de Dresde, i. Pl. 19. 

By Correggio, Cathedral of Parma ; fresco 
on ceiling of cupola. The Virgin, borne 
aloft on luminous clouds by numberless an- 
gels, is received in the heavens by the Arch- 
angel Gabriel and by joyous groups of an- 
gels and saints; below, within a parapet, 
which appears to form an encircling socle to 
the dome, are the Apostles, standing be- 
tween the windows, mostly in groups of 
two; behind them are genii holding cande- 
labra, swinging censers, and pouring per- 
fumes; in the four divisions of the dome, 
borne on clouds by genii, stand the four 
patron saints of Parma, John Baptist, 
Thomas, Hilary, and Bernard.—Vasari, ed. 
Mil., iv. 111; Heaton, Correggio, 166. 

By Guercino, Hermitage, St. Petersburg. 
The Madonna surrounded by angels rises on 
a cloud to heaven, with her eyes raised. 
Below her the Apostles stand round an 
empty tomb adorned with a bas relief. 
Painted in 1623 at Bologna for Alessandro 
Tanari. Considered one of the painter’s 
masterpieces.—Amorinici, Vita di Franc. 
Barbieri, 44. 

By Guido Reni, Munich Gallery; silk 
cloth, H. 9 ft. x 6 ft. 4 in. The Virgin, 
with outstretched arms, standing upon 
clouds, upborne and surrounded by angels, 
is rising heavenward in a glory of light. - 
The best example of Guido’s manner of 
treating the theme.—Jameson. 

By Andrea Mantegna, Trivulzi Gallery, Mi- 
lan ; canvas, figures life size; signed, dated 
1497. The Virgin and Child in an ellip- 
tical glory in the sky, above a landscape ; 
at the sides, SS. John Baptist, Romualdo, 
and a bishop; three boy angels in front. 
Dimmed by repeated varnishings.—C. & C., 
N. Italy, i. 409. 

By Murillo, Alfred Fletcher, Allerton 


G4 


ASSUMPTION 


Hall, Liverpool, Eng.; canvas, H. 8 ft. x 5 
ft. 4in. The Virgin soars upward, with her 
left hand raised ; six cherubs at her feet 
and many heads above; seven Apostles 
around sarcophagus, which contains a white 
rose. Formerly in Capuchin Convent, 
Genoa; bought at Walsh 
Porter sale (1810), £730. 
—Curtis, 140. 

By Murillo, Earl of 
Northbrook, London; can- 
vas, octagonal, 1 ft. 1 in. | 
x 1 ft. lin. The Virgin 
upborne on clouds; be- 
low, the twelve Apostles 
and two Marys around 
the open tomb.—Stirling, 
iu. 1419; Waagen, Treas- 
ures, ii. 181; Curtis, 139. 

By Murillo, Sir Richard 
Wallace, Bart., London ; 
canvas, about 2 ft. 6 in. x 2 
ft. The Virgin seated on 
clouds, surrounded by 
cherubs ; below, the sar- 
cophagus, with the three 
Marys kneeling behind it; 
five Apostles on left, and 
seven on right. From 
Stowe collection.—Curtis, 
140; Waagen, Treasures, | [I 
ui. 153. | 

By Murillo, Hermitage, 
St. Petersburg; canvas, 
H. 6 ft. 6 in. x 4 ft. 9 in. 
The Virgin, standing on 
clouds, with right hand 
outstretched ; below, thir- 
teen cherubs; above, ten 
heads. From Houghton 
Gallery; appraised at £700 
when Lord Orford’s pictures were sold to 
Empress of Russia. Engraved by Val. 


Greene in 1766.—Curtis, 140; Cat. Hermi- 


tage, 130. 
By Pietro Perugino, Cappella Rabatta, 


SS. Annunziata de’ Servi, Florence, painted 
about 1502. Not one of the master’s best 


works.—Vasari, ed. Mil. iii. 586; C. & C., 
N. Italy, iii. 207. 

By Pietro Perugino, Florence Academy ; 
wood, arched, H. 138 ft. 4 in. x 7 ft. 9 in.: 
signed, dated 1500. The Virgin seated in 
clouds, surrounded by seraphs and a choir 


a | 
eg 

x 
# 


“a 


te 
@ 


Assumption, Rubens, Antwerp Cathedral. 


of angels playing instruments; above, the 
Eternal, with seraphs and angels; below, 
Cardinal S. Bernardo degli Uberti, S. Gio. 
Gualberto, St. Benedict, and Archangel 
Michael. Painted for church at Vallom- 
brosa; removed to Academy in 1810 on 
suppression of monastery by the French 


vt) 


ASSUMPTION 


government. One of Perugino’s best works. | above, the Saviour welcoming her with open 
Engraved by F. Livy.—Vasari, ed. Mil. 111. | arms ; below, the Apostles and holy women 


577; C. & O, Italy, iii, 215; Gall. dell’ 
Accad. di Firenze, Pl. 51. 

By Nicholas Poussin, Louvre ; canvas, H. 
1 ft. 8 in. x 1 ft. 4in.. The Virgin stand- 
ing, her eyes upraised and arms extended, 
is sustained on clouds by four angels ; be- 
low, a vast plain with a city’s towers in dis- 
tance. Painted in 1650 for M. de Mauroy, 
Ambassador of France at Rome; passed 
thence to crown. Engraved by J. Pesne ; 
G. Duquey ; Laugier (1815); P. Bettelini 
in Musée Francais ; Annedouche.—Réveil, 1. 
15; Filhol, viii. 561; Landon, iii. 60. 

By Girolamo Romanino, S. Alessandro, 
Bergamo ; canvas, arched, life size. The 
Virgin ascending amidst angels ; above, the 
Eternal; below, the Apostles around the 
tomb. Painted about 1525-30.—C. & C., 
N. Italy, ii. 389. 

By Rubens, Antwerp Cathedral; wood, 
arched, H. 13 ft. 6 in. x 8 ft.6in. The Virgin, 
ascending seated on clouds, surrounded by 
a host of angels, some of whom bear the 
skirt of her robe and mantle, while others 
have wreaths and palms in their hands, and 
two are soaring to place a chaplet on her 
head ; below, the Apostles and three wo- 


men, assembled at the deserted tomb, which “ 


stands in front of the open sepulchre. Car- 
ried off by the French and placed in the 
Louvre, whence returned in 1815. En- 
graved by Bolswert.—Smith, 1. 6. 

By Rubens, Brussels Museum ; canvas, H. 
17 ft. 2 in. x 10 ft. 11in. The Virgin as- 
cending, with twelve angels floating among 
the clouds beneath her and many cherubim 
above ; below, the Apostles and holy women 
visiting the deserted tomb. Painted for 
Cathedral of Notre Dame, Brussels, but, be- 
ing found too small, bought by Jesuits for 
their church. Carried to France ; returned 
in 1815 and placed in Museum. Engraved 
by Bolswert, Loemans.—Smith, ii. 20. 

By Rubens, Munich Gallery ; canvas, H. 
13. ft. 1 in. x 8 ft. 9 in. The Virgin as- 
cending, attended by numerous angels; 


around the tomb. Formerly in Notre Dame 
de la Chapelle, Brussels. Engraved by P. 


Pontius, Masson.—Smith, ii. 61. 

By Rubens, Vienna Museum; wood, H. 
14 ft. 6in. x 9ft.8in. The Virginascending, 
accompanied by a vast company of angels ; 
below, the Apostles surrounding the tomb, 


i |r } \) 
f A A 
inn BE — 


Astimaption. Andrea del Sarto, Palazzo Pitti, Florence. 
at the side of which are three women, two 
of whom are showing flowers taken off the 
winding sheet, while Mary Magdalen leans 
on the shoulder of one of them. Bought at 
Antwerp in 1774, with another picture, for 
18,000 florins.—Smith, ii. 88. 

By Andrea del Sarto, Madrid Museum ; 
wood, H. 5 ft. 9in. x 4ft.5in. Bought for 
£230 from collection of Charles I. of England, - 
and sent by Philip IV. to Escorial, whence 
brought to Museum.—Cat. Museo del Prado. 


%6 


ASSUMPTION 


By Andrea del Sarto, Pal. Pitti, Florence; | from the tomb, half leaning on an angel; 
wood, arched, H. 12 ft. 1 in. x 6 ft. 11 in./above, a circle of cherubs and angels. 
The Virgin seated in clcuds surrounded by! Once a noble picture, but now ruined by 
angels ; below, the Apos- 
tles grouped around the 
sepulchre ; in front, kneel- 
ing, a female saint and 
Saint Nicholas of Bari. 
Painted about 1526 for S. 
Antonio del Poggio, Cor- 
tona, whence taken to Flor- 
ence in 1639 by Ferdinand 
Il.—Vasari, ed. Mil., v. 34; 
C. & C., Italy, i. 578. 

By Andrea del Sarto, 
Palazzo Pitti, Florence; 
wood, arched, H. 11 ft. 10 
in. x 6 ft. Tin. The Virgin 
seated in clouds surround- 
ed by angels; below, the 
Apostles around the open 
tomb. The Apostle in 
front, looking at the spec- 
tator, is Andrea himself. 
Ordered by Bartolommeo 
Panciatichi, but left unfin- 
ished by Andrea at his 
death (1531). Acquired 
for the Pitti by Grand 
Duke Pietro Leopoldo. “A 
masterpiece for lightness, 
aerial perspective, and fin- 
ish” (C. & C.). Engraved 
by Paradisi.— Vasari, ed. 
Mil, v. 33; C. & C., Italy, 
iii. 577; Gal. du Pal. Pitti, 
iii. Pl. 115. 

By Sassoferrato, Louvre ; 
canvas, H. 4 ft. Tin. x 2 
ft. 10 in. The Virgin, in 
a glory, standing upon 
clouds, her hands joined, 
and eyes raised; below, 
three cherubs’ heads, and, 
on each side, three others placed symmetri- | restoration.— Ruskin, Stones of Venice, iii. 
cally.—Villot, Cat. Louvre. 332. 

By Tintoretto, Scuola di S. Rocco, Ven-| By Titian, Cathedral of Verona; canvas, 
ice; canvas. The Madonna ascending arched on top, figures in foreground life size, 


- pM? ~Y 
7 NEG ah 
vt 


ae = 7 
Lena 
eos 
S> Rey : 
¢ a) 
x 


aan) \ 


(ee 

— 
yy! ba 
== 


be KESY 
<= : LA 
Suey aS fee a SALES 


Assumption, Titian, Venice Academy. 


G7 


ASSUNZIONE 


The Virgin sitting in light on the clouds 
above the tomb, around which the Apostles 
are grouped gazing upward; St. Thomas 
catches her girdle as it falls. Painted in 


1543 ; carried to France close of last cen- 
tury and returned in 1815.—C. & C., Titian, 
ii. 69 ; Ridolfi, Maraviglie, i. 229 ; Vasari, ed. 
Mil. vii. 445; Burckhardt, 720; Landon, 
Musée, viii. Pl. 11. 

By Titian, Venice Academy ; wood, arched 
at top, 22 ft. 8 in. x11 ft.9 in.; signed. The 
Virgin, with hands upraised and eyes turned 
towards heaven, from which the Eternal wel- 


comes her with outstretched arms, is ascend-' toretto, Gesuiti, 


| Al 
Wy (lp Sane, 
WA \\ A ALA 
hg 
sie Fh oft 5B B ve 


Y, 


x 


R “FS IK HAapy 
ee oe ae § as of mht N 
Lat) s oe tas 3 a3 Baye 
i <9 

“= S 


Burial of Atala, Girodet de Roussy, Louvre. 


ing attended by a swarm of cherubs and 
angels arranged in a circle of clouds around 
her; below, the Apostles, in shadow, are 
grouped around the tomb, gazing upward 
with awe-stricken faces. Painted in 1516-18 
for the high altar of 8. M. dei Frari, Venice, 
where it was first exposed to public view, 
March 20, 1518. So dimmed even in the 
16th century by candle-smoke and other 
causes that Vasari says it could scarcely be 
seen. The French did not think it worth 
carrying to Paris. Since removal to Acad- 
emy, somewhat injured by cleaning and ex- 
tensive repainting in lower part ; upper part 
fairly preserved.—Vasari, ed. Mil., vii. 436; 


CG. & C., Titian, 1. 211; Kugler (Hastlake), 
ii. 534; Klas. der Malerei, i. PL. 58; Burck- 
hardt, 716; Lavice, 464; Viardot, 331. 

Subject treated also by Moretto, Brera, 
Milan ; Pinturicchio, Naples Museum ; Ru- 
bens, Palazzo Colonna, Rome, Liechtenstein 
Gallery, Vienna; Palma Vecchio, Venice Acad- 
emy ; Taddeo Bartoli, Berlin Museum ; Fra 
Bartolommeo (attributed), Berlin Museum, 
Earl of Warwick; Francisco de Ribalta, | 
Valencia Museum ; Ambrogio Borgognone, 
Brera, Milan ; Paolo Veronese, Venice Acad- 
emy; Giovanni Moroni, Brera, Milan ; Tin- 
Venice ; Giorgio Vasari, Ba- 
dia, Florence; Domenico 
Ghirlandajo, S. M. Novella, 
Florence; Bernardo Po- 
cetti, S. Felicita, ib. 

ASSUNZIONE. See As- 
sumption. | 

AST, BALTHAZAR VAN 
DER, first half of 17th cen- 
tury, died at Delft after - 

1650. Dutch school ; still- 
life painter, master of St. 
Luke’s guild at Utrecht in 
sy 1619 and still living there 
{ in 1629. Works: Apple 
Blossoms with Insects, 
AN) Fruit-pieces (2), Berlin 
<3 Museum; Fruit-piece, 
: Dresden Gallery; Others 
in Amalienstift, Dessau 
and Gotha Gallery.—Meyer, Kiinst. Lex., 
i, 355. | 

ASTRONOMERS, Giorgione. 
dean Sages. 

ASTRONOMY, Raphael, Camera della 
Segnatura, Vatican ; fresco, on ceiling. Fe- 
male figure, leaning over a celestial globe, 
gazing at the planets; on each side a little 
genius holding a tablet. Painted in 1511. 
—Passavant, ii. 90; Miintz, 349. 

ATALA, BURIAL OF, Girodet de Roussy, 
Louvre ; canvas, H. 6 ft. 10 in. x 8 ft. 9 in. 
Scene from Chateaubriand’s Atala (Génie du 
christianisme). At the entrance to a grotto, 
Chactas and Father Aubry are about to lay 


“ Lr 
ZZ A 


See Chal- 


78 


ATALANTA 


in a grave, which they have dug, the body 
of Atala, whose hands, joined upon her 
breast, hold a cross. Salon, 1808 ; acquired 
in 1818, with Endymion and the Deluge, for 
50,000 fr. Engraved by Roger; R. U. Mas- 
sard.—Réveil, i. 5. 

ATALANTA AND MELEAGER, Rubens, 
Madrid Museum; canvas, H. 5 ft. 1 in. x8 
ft.6in. Atalanta and Meleager participat- 
ing in the chase of the Calydonian boar ; 
background a woody landscape. Collection 
of Philip IV.— Madrazo, Cat. Madrid Mus. 

ATALANTA’S RACH, Edward J. Poyn- 


Said by Pliny (xxxv. 40 [134]) to have been 
compared to Nicias and even preferred to 
him by some. He was more sombre in his 
colouring than Nicias, yet more pleasing. 
Among his works were, at Eleusis a Phyl- 
archus, and at Athens a Synzenicon (family 
group) ; Ulysses Detecting Achilles in Fe- 
male Costume ; and Groom Leading a Horse, - 
which contributed more to his fame than 
any other of his pictures. Pliny adds that 
if Athenion had not died young, no one 
would have been comparable to him.— 
Brunn, 11. 294. 


ter. Atalanta, when her father desired her 
to marry, made it a condition that each of 
her suitors should contend with her in a 
footrace, to be put to death in case she con- 
quered him. Milanion, who had received 
- three golden apples from Venus, dropped 
them one after the other,and as Atalanta 
stopped to pick them up, won the race. 
Academy, 1876. Engraved by F. Joubert. 

ATHENA (Minerva), pictures. .See An- 
tiphilus, Cleanthes, Fabullus. 

ATHENION, Greek painter, of Maronea 
in Thrace, pupil of Glaucion of Corinth. 


ATHENS, SCHOOL OF. See School of 
Athens. 

ATTILA, MARCH OF, Raphael, Stanza 
d’Eliodoro, Vatican ; fresco. Attila, King of 
the Huns; marching with his savage hordes 
towards Rome, is met by SS. Peter and Paul, 
patrons of the holy city, who appear in the 
clouds, sword in hand; this so terrifies At- 
tila (on the black horse in the middle) that 
he submits to the terms of Leo I. (portrait 
of Leo X.), who is on a white horse at the 
left, surrounded by his retinue. Painted in 
1540; in allusion to the expulsion of the 


%9 


AUBERT 


‘French from Italy. Studies in Louvre and 
at Oxford. Engraved by Volpato; 8. Bern- 
ard; P. Anderloni; F. Colignon. —Vasari, 
ed. Mil., iv., 347; Miintz, 366 ; Passavant, 1. 
146; Springer, 204; Kugler (Eastlake), 11. 
435 ; Gruyer, Fresques, 215; Perkins, 135. 

AUBERT, AUGUSTIN RAYMOND, born 
in Marseilles, Jan. 23, 1781, died there, Nov. 
5, 1857. History, portrait, and landscape 
painter ; pupil of Guenin at Marseilles, and 
of Peyron in Paris. In 1804 returned to 
Marseilles, and in 1810, was made director 
of the school of drawing and of the Museum ; 
in 1845 he retired to his country seat near 
Marseilles, where he died. Exercised much 
influence upon art in his native city and 
educated a number of able pupils. Works: 
Noah’s Sacrifice (1817}, Marseilles Museum ; 
Visit of the Virgin to S. Elizabeth (1822), 
Glorification of Christ (1838), Annunciation 
(1827), Martyrdom of St. Paul (1836), 
Church of St. Paul, Beauvais.—Meyer, 
Kiinst. Lex., ii. 371. 

AUBERT, ERNEST JEAN, born in Paris, 
in 1824. Genre painter, pupil of Paul De- 
laroche and in engraving of Martinet. Won 
the prix de Rome for engraving in 1844, 
and lived five years in Italy. Devoted him- 
self chiefly to engraving until 1853, when he 
turned his attention to lithography and 
afterward to painting. Medals for painting 
3d class, 1861; 2d class, 1878. Works: 
Confidence (1861) ; Martyrs under Diocle- 
tian (1863) ; Youth (1865) ; Early Breakfast 
(1867); Broken Thread (1872); At the 
Fountain (1875) ; Coming Love (1877) ; Le 


JEAN Aube AT 


barde Hyvarnion et Ravanone (1883) ; Menu 
de l’'Amour (1884) ; Aurora Cools the Wings 
of Love (1885). 

AUBLET, ALBERT, born in Paris - con- 
temporary. History and portrait painter ; 
pupil of Jacquand and of Géréme. Medals: 


3d class, 1880; 2d class, Munich, 1883. 


:| patron, Cardinal Barbarigo ; 


Works: The Siesta, Interior of a Stable, 
Interior of a Courtyard, Farm at Tréport 
(1874) ; Men of the Reserve in a Barrack 
at Cherbourg (1879) ; Selene (1879) ; Meet- 
ing of Henri III and the Duc de Guise 
(1880); Inhaling Room at Mont-Doré 
(1881) ; Dancing Dervishes at Scutari (1882) ; 
On the Beach, Tréport (1883); Nero Poison- 
ing Slaves (1876), St. Etienne Museum ; 
Hsqui-Djamlidja—Broussa (1884) ; Bathing : 
Time at Tréport (1885). 

AUBRY, ETIENNE, born in Versailles, 
Jan. 10, 1745, died in Paris, July 21, 1781. 
Portrait and genre painter, pupil of J. G.: 
Silvestre and Joseph Vien. Member of the 
Academy in 1775. His genre paintings of 

1779 show an incli- 

FA ta by nation to imitate 

oo Greuze. Bore the 

title of painter to the 

king. Portrait of the Artist, Louvre.—Mey- 

er, Kiinst. Lex., i. 378; Wurzbach, Fr. 
Maler d. xviii. J., 40. 

AUDEN-AERD  (Audenaerde, Oude- 
naerde), ROBERT VAN, born in Ghent, 
Sept. 20, 1663, died there, June 3, 1743. 
Flemish school ; history and portrait painter, 
pupil of Frans van Mierop and of Jan van 
Cleef, then of Carlo Maratti in Rome, where 
for many years he was employed by his 

returned to 
Ghent in 1728, after an absence of thirty- 
eight years. Works: Abbot and his Canons 
in Chapter, Assumption (1725), Museum, 
Ghent; Assumption, St. Nicholas’, ib.; 
Martyrdom of St. Catherine, St. James’, ib. ; 
Christ among the Doctors, Petit-Béguinage, 
ib.—Biog. nat. Belgique, i. 535; Meyer, 
Kiinst. Lex., ii. 383. 7 

AUDUBON, JOHN JAMES, born in 
Louisiana, May 4, 1780, died in New York, 
Jan. 27, 1851. Animal painter; studied 
under David in Paris in 1795 or 96. Made 
many expeditions down the Ohio and in 
Florida to sketch birds; visited Europe 
again in 1826 and 1832; published, in 
1828-44 his “Birds of America” and his 
‘Ornithological Biography,” the former il- 


80 


AUERBACH 


lustrated and coloured from his own draw- 
ings. He projected also a work on the 
“Quadrupeds of America,” which was 
finished by his sons after his death. The 
New York Historical Society owns many of 
Audubon’s original drawings ; his Covey of 
Blackcock and Canada Otter were in Phila- 
delphia Exhibition, in 1876.—Mrs. Audubon, 
Memoir (New York, 1869). 

AUERBACH, JOHANN GOTTFRIED, 
born at Miilhausen, Thuringia, Oct. 28, 1697, 
died in Vienna, Aug. 3, 1753. German 
school ; portrait painter, from about 1716 in 
Vienna, where he became court painter in 
1735 and member of the Academy in 1750. 
Works: Portrait of Charles VI. ; Portrait of 
Prince Eugéne, Vienna Museum ; do. Salz- 
dalum Gallery.—Meyer, Kiinst. Lex., 11. 436. 

AUGUIN, LOUIS AUGUSTIN, born in 
Rochefort, in 1824. Landscape painter, 
pupil of Jules Coignet and Corot; settled 
in Bordeaux and -has_ exhibited, since 
1846, many landscapes of poetic character. 
Medals at Vienna (1873); Paris, 3d class 
(1880); 2d class (1884). Works: Fields 
around Saintonge, June Day (1872) ; Evening 
in the Valley (1873); Height of Alengon, 
Banks of the Bramerie (1876); Dunes of 
Montalivet (1883) ; Summer Day at Grande 
Cote (1884).—Meyer, Kiinst. Lex., 1. 438. 

AUGUSTIN, JEAN BAPTISTEJACQUES, 
born in Saint-Dié, Lorraine, Aug. 15, 1759, 
died in Paris, April 13, 1832. As a painter 
of portraits, in miniature, of the most emi- 
nent persons of his time, he attained a 
European reputation, and educated a great 
number of meritorious artists. In 1819 
was appointed first painter to the king. 
Exhibited at Paris from 1791 to 18381. 
Works: Two portraits of Napoleon, Portrait 
of Louis XVIIL, two female portraits (1815 
and 1824), Sir Richard Wallace, London.— 
Meyer, Kiinst. Lex., ii. 440. 

AUGUSTINE, ST., Murillo, Joseph T. 
Mills, Rugby, Warwickshire ; canvas, H. 5 
ft. 10 in. x 4 ft. 5in. The Saint, in bishop’s 
robes, with mitre and crook, stands on sea- 
shore conversing with a child who is trying 


81 


to fill a hole in sand with water taken from 
sea in a shell. According to the legend, the 
child said he was going to empty the sea 
into the hole. ‘‘Impossible,” said the Bish- 
op. ‘No more impossible,” replied the 
child, “than for you to explain the Trinity, 
on which you are meditating.” Louis 
Philippe sale, £680. Same subject by San- 
chez Coello in Escorial, Guercino in Madrid 
Museum, and Garofalo in National Gallery 
of London ; fresco attributed to Raphael in 
Vatican.—Curtis, 219 ; Cat. Nat. Gal.; Stir- 
ling. 

By Murillo, George Tomline, Orwell Park, 
Suffolk, England ; full-length, life size. The 
Saint, in a robe lined with red, kneels in 
ecstasy before a flaming heart which ap- 
pears in clouds, with an inscription; on 
the floor, three books, a mitre, and a cro- 
zier. Painted about 1678 for Convent of 
S. Augustine, Seville; taken to Paris by 
Marshal Soult, who sold it about 1846 to 
Mr. Tomline. Dr. Waagen calls it the finest 
single figure he knew by the master. Copy 
in Cadiz Museum.—Waagen, Treasures, ili. 
441; Curtis, 218. 

By Murillo, Seville Museum ; wood, H. 
8 ft. 3 in. x 4 ft. 4 in. The Saint, seated 
behind a table, holding a pen over an open 
book, beholds a vision of the Trinity, above 
on his right, in a glory of cherubs and 
heads. Painted about 1678 for Convent of 
S. Augustine, Seville ; companion to above. 
—Curtis, 217. 

By Murillo, Seville Museum ; wood. H. 
8 ft. 3 in. x 4 ft 4 in. The Saint, in 
the habit of the Order of St. Benedict, 
kneeling, presents to Infant Jesus, seated 
on lap of Virgin, a flaming heart which 
the Child transfixes with a dart; above, 
cherubs and heads. Painted about 1678 
for Convent of S. Augustine, near the Car- 
mona Gate, Seville, which was suppressed 
at the beginning of this century.—C. Ber- 
mudez, ii. 60; Carta, 96; Ponz, Viage, ix. 
135 ; Curtis, 217. | 

AUGUSTUS AND THE FRIENDS OF 
VIRGIL, Raphael, Camera della Segnatura, 


AURORA 


Vatican ; picture in grisaille, under the Par-|and effect. Engraved by F. Pozzi (1880).— 
nassus, at right. Emperor Augustus pre-| Burckhardt, 173. toe 
venting the friends of Virgil, Tucca and| AURORA, Guido Reni, Palazzo Rospigli- 
Varius, from burning the MS. of the Aineid, | osi, Rome; fresco, on the ceiling of the gar- 


Aurora, Guercino, Palazzo Ludovisi, Rome. 


as the poet had directed; on right, eight|den pavilion. Aurora precedes Phebus, 
other figures. Painted in 1511.—Passavant, | who, sitting in a chariot drawn by horses, 
HOT is attended by the Hours, graceful figures 

AURORA, Guercino, Palazzo Ludovisi, | varied in action. Best work of the master 
Rome. Painted on the ceiling of a casino|for composition and color. Engraved by 
in the gardens of the villa. Apollo seated|J. Frey ; Pasqualini; R. Morghen; C. 
in a car dragged above the clouds by heavy | Preisel.—Ch. Blane, Ecole bolonaise ; Kug- 
mottled horses, is surrounded by the Hours. | ler (Eastlake), ii. 489 ; Lavice, 383. 


Aurora, Guido Reni, Palazzo Rospigliosi, Rome. 


The fresco resembles that of the same sub- 
ject by Guido at the Palazzo Rospigliosi, 
but is inferior to it in composition, color, 


AUSTERLITZ, BATTLE OF, Gérard, 
Versailles Museum ; fought, Dec. 2, 1805. 
Scene: Gen. Rapp, wounded, gallops to an- 


82 


AUTEROCHE 


nounce to the Emperor, who is seated on 
his horse surrounded by his staff and by offi- 
cers of the enemy made prisoners, the de- 
feat of the Russian Imperial Guard. Painted 
in 1808: Salon, 1810. Engraved by Blanch- 
ard.—Landon, Musée, Salon de 1810, Pl. 
37-40 ; Gal. de Versailles, iv. No. 797. 

AUTEROCHE, ALFRED, born in Paris 
in 1831. Landscape and animal painter ; 
pupil of Brascassat and of L. Cogniet. 
Works: Cattle (Wm. Astor, N. Y.), Large 
Oak, Pasture on Coast of Normandy (1868) ; 
Pasture near Trouville, Little Shepherdess 
(1874); Ravine of Mandailles, The Prairie 
(1879) ; Brood Mares (1880); Dogs and 
Sheep in South Jersey (1882). 

AUTISSIER, LOUIS MARI, born in 
Vannes, Brittany, Feb. 8, 1772, died in 
Brussels, Sept. 4, 1830. Studied with 
Vautrin, and at fourteen by himself from 
nature. Served two years in the army, 
then went to Paris and afterwards to Brus- 
sels, where he painted miniatures, and to 
Holland. In 1817 he painted William L, 
King of the Netherlands ; exhibited at 
Paris in 1820-22.—Meyer, Ktinst. Lex., ii. 
449, 

AUTOBOLJUS, painter. See Olympias. 

AUTOMEDON, Henri Regnault, S. A. 


Coale, Jr., St. Louis, Mo.; canvas, H. 10 ft. | 


4in. x 10 ft. 9in. Automedon, charioteer 
of Achilles, nude, struggling with the horses 
of Achilles, Xanthus (chestnut) and Balius 
(piebald), when about to yoke them to the 
chariot for the use of Patroclus (Il. xvi.). 
Painted in Rome, 1867; bought by L. P. 
Morton, N. Y.; sold in 1882 to Mr. Coale 


for $5,900. Placed in 1884 on exhibition in | 


1824, to Florence in 1826, but returned to 
Rome, and thence to Paris. Was associate 
of the Institute, officer of the Legion of 
Honour, and knight of the Order of St. 
Michael. Works: Jealousy of Cinone, St. 
Louis Captive, Banquet of Damocles, St. 
Paul in Athens (1827) ; Sacrifice of Gautier 
de Chatillon (1827), Cambrai Museum ; 
Spartan Fugitive, Raising of Pepin the Short 
to the Throne, Meleager’s Death, Valen- 
ciennes Museum.—Meyer, Kiinst. Lex., 
ii. 452 ; Lejeune, iii. 14. 

AUZOU, PAULINE, born in Paris, March 
24,1775, died there, May 15, 1835. History 
and portrait painter ; pupil of Regnault, ex- 
celled especially in female portraits; first 
exhibited at Salon in 1793. Early subjects 
taken from Greek history. Works: Arrival 
of Marie Louise in Compiégne (1810), Marie 
Louise Taking Leave of her Family, Versailles 
Gallery ; Agnes de Méranie (1808); Diana 
of France and Montmorency (1814); Por- 
traits of Volney (1795), Regnault (1800), 
Picard the Elder (1806).—Meyer, Kiinst. 
Lex., ii. 454. 

AVALOS, ALFONSO D’, ALLEGORY 


a 


Boston Museum of Fine Arts, and will prob- | lhe 


ably remain there. Photogravure in Art 
Treasures of America, ili. 121. 


AUTUMN, N. Poussin. See Spies, Re-||NiX 


turn of the. 


AUVRAY, JOSEPH FELIX HENRI, |N\\WS 


born at Cambrai, March 31, 1800, died 
there, Sept. 11, 1833. History painter ; 
pupil of Valenciennes Academy and, in 
Paris, of Gros (1820); went to Rome in 


AI 


Allegory of Alfonso D’Avalos, Titian, Louvre. 


OF, Titian, Louvre ; canvas, H. 4 ft. x 3 ft. 
6in, The Marquis del Vasto, standing in 


83 


AVALOS 


armour, about to go against the Turks, 
parting from his wife, Mary of Aragon, but 
consoled by Victory, Love, and Hymen. 
Painted about 1533; from collection of 
Louis XIV. Engraved by Natalis and Oort- 
man. Variations of the subject in Vienna 
Museum.—Vasari, ed. Mil. vii. 442; C. & 
C.,. Titian, 12 87a ; Wilholy xb) (ite Vvae 
lot, Cat. Louvre; Miindler, 210; Ch. Blane, 
Ecole vénitienne. 

AVALOS, ALFONSO D’, ALLOCUTION 

OF, Titian, Madrid Museum ; canvas, H. 7 ft. 
4 in. x 5ft.5in. The Marquis del Vasto, 
in armour and a red mantle, with a baton 
in one hand, gesticulates with the other to 
a company of halberdiers on right; his son 
Francesco holds his helmet. Painted in 
1541 ; was in 1621 in the Alcazar of Madrid, 
where it was injured by fire and repainted, 
so that little remains of Titian’s handling. 
A similar picture in the Mantuan collection 
passed to Charles I. of England.—C. & C., 
Titian, 1. 51; Vasari, ed. Mil., vii. 448. 
_ AVALOS, ALFONSO D’, Marquis del 
Vasto, portrait, Titian, Cassel Gallery ; can- 
vas, H. 7 ft. 2 in. x5 ft.5in.; signed. Full 
length, in red doublet and hose and plumed 
cap of a duke, with a spear in right hand ; 
at his feet on the right is a white dog, and 
on the left Cupid raising aloft a plumed hel- 
met ; background, a landscape. The title 
d’Avalos, Marquis del Vasto, needs confir- 
mation. Painted about 1550?—C. & C.,, 
Titian, ii. 427; Cassel Cat. 

AVALOS, D’, AND HIS PAGE? Titian, 
Hampton Court; canvas, H. 4 ft. 4 in. x 3 
ft. lin. Seen to the knees, in armour, his 
right hand on a table on which is his hel- 
met ; a page to the right ties the laces of 
his breast-plate. Called Marquis del Guasto 
and Page in catalogue, but on slight 
grounds. Features are not unlike those of 
Duke of Alva in picture by Antonio Moro 
in Windsor Castle.—C. & C., Titian, ii. 428 ; 
Law, Hist. Cat. Hampton Court, 39; Waa- 
gen, Treasures, ii. 414. 

AVANZI (Davanzi) JACOPO, born in 
Verona, second half of the 14th century. 


Not to be confounded with his contemporary 
Jacopo degli Avanzii of Bologna. Worked 
at Verona and Padua, where he assisted 
Altichiero da Zevio in painting the frescos 
of the Chapel of 8. Giorgio, and himself 
painted the frescos of 8. Michele, Padua, 
which correspond in technic, though in- 
ferior in composition. To the same paint- 
er, who, with Altichiero, propagated the Gi- 
ottesque style in the north of Italy, may be 
attributed the fresco fragments of the Tri- 
umph of Marius in the Hall of the Em- 
peror, now Library, Padua.—Meyer, Kiinst. 
Lex., ii. 454; Schnaase (2d ed. 1876), 
vii. 494; Liibke, Gesch. d. ital. Mal., 1. 
20. 

AVANZII, JACOPO DEGLI, latter half 
of the 14th century. Bolognese school ; 
imitated the second-hand followers of Giot- 
to, and combined ugly types, exaggeration 
of movement, and feeble execution. There 
are a Crucifixion by him in the Palazzo Co-_ 
lonna, Rome, and a Crucifixion and three 
damaged panel pieces in the Bologna Gal- 
lery ; also frescos at Mezzarata. He is not 
to be confounded with the above nor with 
Jacopo di Paolo Avanzi Bolognese, begin- 
ning of the 15th century, Padua.—C. & C., 
Italy, 11. 212, 233 ; Bernasconi, Stud}, v. 29 ; 
Vasari, ed. Le Mon., i. 40, iv. 90; Meyer, 
Kiinst. Lex., ii. 455. 

AVED, JACQUES ANDRE JOSEPH, 
born in Douai, Jan. 12, 1702, died in Paris, 
March 4, 1766. Portrait painter, pupil in 
Paris (1721) of Alexis Simon La Belle, and 
in Amsterdam of Picard, member of the 
Academy in 1734. He was intimate with 
Boucher, Chardin, C. Van Loo, and the fore- 
most artists of his time, and painted many 
prominent men and women. LExhibited in 
Salons in 1737-1759. Works: Portrait of 
William IV., Amsterdam Museum ; of Mira- 
beau, Louvre ; of the painters Cazes and de 
Troy, Ecole des B. Arts, Paris; Madame de 
Tencin, Valenciennes Museum ; Said Pasha, 
Versailles Gallery ; Louis XV., J. B. Rous- 
seau.—Meyer, Kiinst. Lex., 11. 458; Dus- 
sieux, 254. ' 


84 


AVELLINO 


-AVELLINO, GIULIO, or GIACINTO, 
called Il Messinese, born in Messina, about 
the middle of 17th century, died in Ferrara, 
Aug. 3, 1700. Neapolitan school; pupil 
of Salvator Rosa in Naples; returned to 
Messina and married the daughter of Maffei, 
his first teacher in perspective and architect- 
ure. Having wounded a priest in a quarrel, 
he fled to Naples, but pursued by the love 
and jealousy of a woman, who attempted to 
poison his wife, went to Rome, and after- 
wards to Venice. After visiting other cities 
he settled in Ferrara and there successfully 
revived the art of landscape painting, which 
had been extinct since the death of Dossi. 
—Meyer, Kiinst. Lex., 11. 467. 

AVERCAMP, HENDRIK, surnamed de 
Stomme (Mute) van Kampen, born prob- 
ably at Kampen on the Yssel about 1585 (?), 
died about 1635 (?). Dutch school; land- 
scape painter, closely approaching the style 
of W. Buytenvrech and E. van de Velde ; 
painted chiefly winter landscapes. His 
highly esteemed water-colour sketches and 
drawings are in the Taylor Museum, Haar- 
lem (8), Hamburg Gallery (4), Stadel Gal- 
lery, Frankfort (10), Berlin Museum (3), 
Albertina, Vienna (4). Works: Landscape, 
Antwerp Museum ; River Landscape, Rot- 
terdam Museum ; Landscape (1620), Amali- 
enstift, Dessau ; Dutch Kirmess on the Ice 
(2), Dresden Gallery; Frozen River with 
Skaters (2), Berlin Museum ; Winter Land- 


FA AN Aer? 


scape, Schwerin Gallery.—Meyer, Kinst. 
Lex., i. 469. 

AVERNUS, LAKE, the Fates, and the 
Golden Bough, J. M. W. Turner, National 
Gallery, London ; canvas, H. 3 ft. 5 in. X 5 
ft. 4 in. Lake Avernus, near Cume, Italy, 
-with Baise and Vesuvius in distance. Sup- 
posed to be fed by the Acheron, the river of 
the infernal regions—hence the entrance to 
Hades. The golden bough was a branch of 
the tree of Proserpine which, when plucked 
by the favour of the Fates, enabled mortals 


to visit and return from Hades (Aineid, VI.), 
Royal Academy, 1834 ; Vernon Collection, 
1847. Engraved by T. A. Prior, J. T. Will- 
more.—Cat. Nat. Gal.; Hamerton, Life. 

AVONT, PEETER VAN DEN, born at 
Mechlin, baptized Jan. 14, 1600, died at 
Deurne, near Antwerp, Nov. 1, 1652. Flem- 
ish school; history and landscape painter, 
master of Antwerp guild in 1622-23, be- 
came a citizen of Antwerp in 1631. Often 
supplied the landscapes of Vinck-Boons, 
Jan Brueghel the elder and the younger, 
Lucas van Uden, Jan Wildens, J. d’Arthois, 
Luc. Achtschellinck, and Lod. de Vadder with 
delicately painted small figures. Works: 
Holy Family, St. James’, Antwerp ; Madon- 
na, St. Nicholas’ Chapel, ib.; do. and Angels 
in a Landscape, Ghent Museum ; Wooded 
Landscape with Holy Family, do. with Ma- 
donna and St. John, Flora with Genii, Mu- 
seum, Vienna; Landscape with Diana Aim- 
ing at Mother with two Children, Madonna 
and Angels, Silenus and Bacchus, Liechten- 
stein Gallery, ib.; Holy Family and Angels, 
Munich Gallery.—Kramm, i. 36; Meyer, 
Kiinst. Lex., 1. 479. 

AXARETO. See Assereto. 

AZE, ADOLPHE, born in Paris, March 
6, 1822, died there, March 25, 1884. His- 
tory painter, pupil of Robert-Fleury; vis- 
ited Italy and the East and first exhibited in 
the Salon in 1845. Medals: 3d class, 1851, 
1863. Works: Diana Surprised by Endy- 
mion; Council of Cardinals (1851), Rodez 
Museum ; Jean Goujon Decorated by Duke 
of Anjou (1855), Bagnéres-de-Bigorre Muse- 
um; Cosimo de Medicis Assassinating his 
Son in the Streets of Venice ; Interview be- 
tween Philip II. and Don Carlos.—Chron- 
ique des Arts (1884), 105. 

AZEGLIO (Massimo Taparelli), MAR- 
CHESE D’, born in Turin, Oct. 24, 1798, 
died there, Jan. 15, 1866. Landscape and 
genre painter, pupil of M. Verstappen in 
Rome; excelled especially in landscapes, 
which he enlivened with figures. In 1833 
he exhibited in Milan seventeen pictures 
which were most favourably received. Prime 


85 


BAADE 


minister of Sardinia under Victor Emmanuel 
and distinguished also asascholar. Works : 
Fight of Italian and French Knights at 
Barletta, Origin of the Sforza Family, Ulys- 
ses Received by Nausicaa, My Wood, Battle 
of Legnano.—Meyer, Kiinst. Lex., ii. 494. 


Norway, March 28, 1808, died in 

Munich, Nov. 24, 1879. Landscape 
and marine painter, pupil of Copenhagen 
Academy in 1827-30. After painting por- 
traits in Christiania, went to Dresden, where 
he studied under Dahl in 1836-39; went 
again to Dresden in 1843 and settled in Mu- 
nich in 1846. He was Swedish court painter 
and member of the Stockholm Academy. 

Works: Moonlight Night on Nor- 

wegian Coast, Christiania Gallery; 

do., Munich Gallery; Steamboat on 
the Cliffs.—Am. Art Rev. (1880), 179; Kiinst- 
Chronik, xv. 194; Meyer, Kiinst. Lex., ii. 
499; Regnet, 1. 11. 

BAADER, LOUIS MARIE, born at Lan- 
nion, June 20, 1828. History and genre 
painter; pupil of Yvon and of the Ecole 
des Beaux Arts. After treating antique 
subjects, exhibited in Salons in 1866-68, 
his humorous picture of a man shaving a 
poodle dog (The Toilette) had great success 
in the Salon of 1873. Medal 1866 ; 3d class, 
1874. Works: Destruction of Camulodu- 
num ; Hero and Leander ; Ulysses and Nau- 
sicaa ; Salmacis and Hermaphroditus ; Post- 
humous Fame (1874) ; Savoyard’s Lyre, Re- 
morse, Tinker, Episode in Sparta (1877); 
Mistake, Faience Mender (1878).—Meyer, 
Kiinst. Lex., ii. 500; Miller, 20; Kunst- 
Chronik, viii. 86. 

BAAGE, CARL EMIL, born in Copen- 
hagen, Aug. 22, 1829. Marine painter, pupil 
of Copenhagen Academy; visited Iceland 
and Norway and made several cruises on 
royal men-of-war. Works: Vessels in the 
Sund (1855); Frigate Facing Storm in the 
Atlantic (1872).—Sigurd Miller, 17; Weil- 
bach, 38. 


B x KNUD, born near Stavenger, 


BABUREN, THEODOR VAN, born prob- 
ably at Utrecht in 1570 (?), died there in 
1624 (?). Dutch school; history and genre 
painter, closely resembling G. Honthorst in 
choice of subjects and realistic treatment. 
Works: Entombment (1617), S. Pietro in 
Montorio, Rome; Portrait of Young Singer 
(1623), Castle Langenstein near Halberstadt; 
Clarinet Player, Conversation, Prometheus 
Bound (1623); Adam and Eve; Bacchanal. 
—Meyer, Kiinst. Lex., ii. 503. 

BABYLONIAN MARRIAGE MARKET, 
Edwin Long, Holloway Institute, Egham, 
near London. The sale of a tall, fair damsel, 
standing on a platform before a crowd of 
Babylonians, whom her uncommon charms 
have evidently stirred to the heart. At the 
salesman’s bidding she raises her white veil, 
while a negress shifts the long light robe 
from her torso, of which we see only the 
back; in front, a row of dusky beauties. 
Royal Academy, 1875; C. Hermon sale 
(1882), £6,615.—Art Journal (1875), 250; 
Athen., May, 1875, 490. 

BACCHANAL, Giovanni Bellini and Titian, 
Alnwick Castle, England; canvas, 6 ft. square; 
signed, dated 1514. The gods, feasting and 
drinking in a woody glade; background, a 
rocky hill, with a castle—view of Cadore, 
seen from the point of Previs. Begun in 
1514 for Duke Alfonso of Ferrara by Bellini, 
who sketched and dated it, but was pre- 
vented from finishing on account of his 
great age, says Vasari; finished by Titian. 
Was in the Ludovisi and Aldobrandini col- 
lections, Rome, before going to England. 
Much retouched.—C. & C., N. Italy, i. 191; 
Vasari, ed. Mil. vii. 433 ; Campori, Tiziano 
e gli Kstense, Nuova Antologia, Nov. 1874; 
Meyer, Kiinst. Lex., iii. 412, 418. 

By Dosso Dossi, Palazzo Pitti, Florence; 
canvas, 4 ft. 9in. square. A motley group of 
ladies and gentlemen, some of them half 
nude, pressing round a table on which lie 
masks, musical instruments, OM ae 
(Kastlake), ii. 488. 

By Titian, Madrid Museum ; canvas, H. 
5 ft. 9 in. x 6 ft. 4in.; signed. Bacchantes 


86 


BACCHANTE 


and their companions celebrating an orgy ; 
Ariadne in foreground at right, insensible 
from wine; in the distance the galley of 
Theseus sailing away. Painted in 1519-20 
for Duke Alfonso of Ferrara; same subse- 
quenthistory as the Venus Worship. Copy by 
Rubens in Royal Palace, Stockholm.—C. & 
C., Titian, i. 231, 265; Sainsbury Papers, 823. 

BACCHANTE, Annibale Carracci, Uffizi, 
Florence; canvas, life size. A bacchante, 
seen from behind, nearly nude, half reclining 
under a tree, with a fly- 
ing Cupid crowning her 
with a wreath; at left, 
the god Pan offers her 
a dish of grapes, while 
a little satyr embraces 
one of her legs. 
ed for the Bolognetti 
family, who sold it to 
the Medici. Copy, for- 
merly in Farnese collec- 
tion, now in Naples Mu- 
seum.—Malvasia, 1. 378 ; 
Molini, i. 53; Soc. Ed. 
& Paris, Gall. de Firenze, 
Pl. 97; Museo Borbon- 
ico, vili. Pl. 47 ; Lasinio, 
i. Pl. 16. 

By George Romney, 
National Gallery, Lon- 
don; canvas, H. 1 ft. 7 
in. x 1 ft. 3 in. Bust por- 
trait of Emma Lyon, af- 
terwards Lady Hamilton, wife of Sir Wm. 
Hamilton and mistress of Lord Nelson. 
Painted about 1786; Vernon Collection. 
Engraved by C. Hall.—Art Journal (1854), 
88. 

BACCHIACCHA. See Ubertini. 

BACCHUS or Dionysus, ancient pictures. 
See Aristides, Ctesilochus ; Liber, see Echion, 
Nicias. 

By Guido Reni, Palazzo Pitti, Florence ; 
canvas, H. 2 ft. 8 in. x 2 ft. 2in. Bacchus, 
half length, crowned with grapes and leaves, 
bearing a salver and cup; a wicker flask 
hangs from his finger ; in front, a nude boy 


Paint- Bs Ann ae 


JAS ON 5 

j IN i Ke 

| fis vay N 
PWN II 

m/s A, IN én. ie 
) RNAS 


bears a large vase. Engraved by E. Beis- 
son; V. della Bruna.—Wicar, ii. Part 13; 
Gal. du Pal. Pitti, i. Pl. 67; Lavice, 68. 

By Velasquez. See Borrachos. 

By Leonardo da Vinci (?), Louvre ; canvas, 
H. 5 ft. 10 in. x3 ft. 9 in. Seated on a stone, 
crowned with vine leaves and leaning on a 
thyrsus. From collection of Louis XIV. 
Ascribed, in inventory of the Restoration, 
to a scholar of Leonardo. Passavant thinks 
it was originally a John Baptist in the Des- 


IRAE 


—— ~ =, 
BES 
Ai’. 


NS 
| 
\ i 
\( 


4 wil fo % 
= S FA 
or | 


=1 SS 


ert, as there is a picture like it, save the 
crown of leaves, representing the Saint, in 
S. Eustorgo, Milan ; the vine leaves and the 
thyrsus are evidently additions.—Vasari, ed. 
Mil., iv. 60; Villot, Louvre ; Rigollot, Hist. 
des Arts, &c., i. 288 ; Heaton, 255 ; Gaz. des 
Beaux Arts (1866), xx. 47. 

BACCHUS AND ARIADNE, Claude Lor- 
rain. See Ulysses and Nausicaa. 

By Tintoretto, Palazzo Ducale, Venice ; 
canvas. Figures nude. Bacchus, crowned 
with vine leaves, and with leaves and grapes 
about his loins, stands in the water at the 
edge of the sea, offering a. ring to Ariadne, 


Bacchanal, Giovanni Bellini and Titian, Alnwick Castle, England. 


87 


BACCHUS 


who sits on the shore; above, Venus, float- 
ing in the air, crowns Ariadne with stars. 
Once one of the noblest pictures in the 
world, but now miserably faded by the sun, 
which falls on it all day long.—Ruskin, 
Stones of Venice, iii. 297 ; Klas. der Malerei, 
Pl. 64; Burckhardt, 752 ; Ridolfi, Marav., ii. 
217. 

By Titian, National Gallery, London ; can- 
vas, H. 5 ft. 9in. x 6 ft. 3 in.; signed. Sub- 
ject from Catullus (Peleus and Thetis, lxiv. 
252). Ariadne, on the shore of Naxos, turns 
as if to flee from Bacchus, who is eagerly 
leaping from his leopard-drawn car ; a bois- 
terous procession of Satyrs and Menads issue 
from a wood on right. Painted in Ferrara 


(_—<—— = 


eee oof 
hoy .-—<—=— 

MAY C oe pi 

2 heme 


Sa 


=x! 


Bacchus and Ariadne, Titian, National Gallery, London. 


in 1523 ; removed in 1598 to Rome, where it 
was in the Barberini and Aldobrandinj col- 
lections; purchased from latter in 1806 for 
Mr. Buchanan; sold in 1826 to National 
Gallery. Copies by Varotari in Bergamo 
Gallery ; copies by Poussin at Alnwick Cas- 
tle and in Accademia di § Luca, Rome. 
Engraved by G. A. Podesta (1636), and J. 
Juster (1691).—C. & C., Titian, i. 259; Ri- 
dolfi, Maraviglie, i. 257; Vasari, ed. Mil., 
Vii. 434 ; Richter, 86. 


St Cereus 
GSO WES > We of eG : 


BACCHUS, YOUTH OF, Adolphe Bou- 


guereau, Paris; canvas. The boy-god, mount- 


ed upon the shoulders of a shepherd and 


surrounded by dancing nymphs and satyrs, 
is the centre of a procession passing through 
a glade; centaurs lead the throng on the 
right, and Silenus on, his ass brings up the 
rear. Salon, 1884.—Art Journal (1884), 180. 
BACCICCIO, IL, born in Genoa May 8, 
1639, died in Rome 
April 2, 1709. Gen- 
oese school; real 
name Gio. Battista 
Gaulli; pupil of Lu- 
ciano Borzone, went 
early to Rome and 


masters formed a style 
which brought him into 
repute. He distinguished 
himself especially as a ma- 
chinist ; his most conspic- 
uous work is the dome of 
the Gest, Rome, where he 
represented St. Francis 
Xavier taken up into 
heaven. Also celebrated 
for his portraits; painted 
Seven popes and many 
other persons of rank. 
—Lanzi, i. 515, ili. 275 ; 
Ch. Blanc, Ecole géno- 
ise. 
BACH, ALOIS, born at Eschelkamm, Ba- 
varia, Dec. 12, 1809. Painter of horses, 
genre subjects, and landscapes. In °1828 
entered the Munich Academy 
under Heinrich Hess, then 
studied works of Albrecht 
Adam and Peter Hess, and 
later was strongly influenced 
by his friend Ed. Schleich. 
Works: Mail Coach in the Snow, Storm 
Approaching, Bavarian Village in Harvest 


“Aiiwios 


§8 


BACHE 


Time.—Meyer, Kiinst. Lex., 11. 509 ; Miller, 
20. 

BACHE, OTTO, born at Roeskilde, Den- 
mark, Aug. 21, 1839. Genre painter, pupil 
of Copenhagen Academy, under Marstrand, 
where he obtained prizes in 1856-57-66 ; 
completed his studies in Paris. ixcels also 
in portraits and animals, and is noted for 
brilliant colouring. Medal, Copenhagen, 
1872. Works: Drive to a Kirmess (1863) ; 
Wagons by Brickyard (1864), Copenhagen 
Gallery ; Badger with her Young (1866) ; 
Centaur Playing with his Son (1869) ; Do- 
mestic Animals at Peasant’s, Cart-Horses, 
Feeding the Dogs (1870); Father and Son 
(1871); Daniel in the Lion’s Den, Visit to 
Young Mother (1874); After the Boar-Hunt 
(1875) ; Admiral Tordenskjold at Carlsten 
(1876); Team of Horses by Tavern (1878); 
In the Mill (1879); Staghunt (1881); Winter 
Morning at the Exchange (1882).—Sigurd 
Miller, 18 ; Weilbach, 39. 

BACHELIER, JEAN JACQUES, born in 
Paris, 1724, 
died there, 
April 13, 1806. 
Flower, ani- 
mal, and _his- 
tory painter, 
pupil of Pierre. 
Received into 
the Academy in 
1751 as flower 
painter, and in 
1763 as history painter. 
lished a free school of design for artisans, 
which, in 1767, passed into the hands of the 
Government. As instructor in the factory 
at Sévres he exercised a marked influence 
upon French porcelain painting. He made 


| Dachelier 1769 


the first researches in the use of wax for en- 
caustic painting, and thus became intimate 
with Count Caylus and other French ar- 


cheologists. His Cimon in Prison is in the 
Louvre.—Ch. Blane, Ecole frangaise, ii.; 
Meyer, Kiinst. Lex., 11. 512. 

BACHELIN, AUGUSTE, born in Neuf- 
chatel, Switzerland, Sept. 27, 1830. His- 
tory, genre, and landscape painter, pupil in 
Neufchitel of Moritz and in Paris (1852) 
of Gleyre and Couture. Confined himself 
at first to genre and landscape, but after 
1859, when he accompanied Garibaldi’s vol- 
unteers, painted chiefly military scenes. 
Afterwards travelled through France ; spent 
the winter of 1864-65 in Italy, where he 
painted popular life. Works: March of 
a Swiss Battalion (1860); Bourbaki’s Army 
Entering Swiss Territory ; Scene from De- 
fence of Switzerland (1866); Death of En- 
sign Montmollin (1866), Neufchatel Mu- 
seum; Haymakers of the Alps (1863) ; 
Poachers of Uri (1863) ; Wrestlers of Hasli 
(1867) ; Two Fancy Scenes from Prehistoric 
Times.—Meyer, Kiinst. Lex., 11. 513; Miil- 
ler, 21; Kunst-Chronik, v. 189; vii. 108. 

BACKER, ADRIAEN, born in Amster- 


‘|dam in 1636, died there in 1686. Dutch 


school ; history and portrait painter, nephew 
of Jacob B.; followed at first the traditions 
of the school of Utrecht, afterwards formed 
himself entirely after Italian models. Works: 
Allegory, Antwerp Museum; Semiramis 
(1669), Last Judgment, National Museum, 
Amsterdam; Anatomical Lecture (1670), 
Atheneum, ib.; Managers of Medical Col- 
lege, ib.; male portrait, Rotterdam Mu- 
seum; do. and female portrait, Endymion 
and Diana, Sleeping Girl and Shepherd, 
Rape of Sabine Women (1671), Bruns- 
wick Gallery.—Meyer, Ktinst. Lex., i, 519 ; 
Riegel, Beitrage, ii. 300. 

BACKER (Bakker), JACOB, born at 
Haerlingen in 1608 or 1609, died at Amster- 
dam, Aug. 27, 1651. Dutch school ; portrait 
painter, pupil at Leeuwarden of Lambert 
Jacobsz, then at Amsterdam (1635-38) of 
Rembrandt, but later yielded to the influ- 
ence of Van der Helst and others. Works: 
Syndics, Two Archery Pieces (one of 1642), 
National Museum, Amsterdam; Venus, 


89 


BACKEREEL 


Adonis, and Cupid. Cassel Gallery ; Por- 
trait of F. de Vroude (1643), Berlin 
Museum; male and female portrait, Old 
Man in Prayer, Dresden Gallery.—Meyer, 
Kiinst. Lex., ii. 517; Riegel, Beitrage, 1. 
300. 

BACKEREEL, GILLES, born in Antwerp, 
master of the guild in 1629, died after 1652. 
Flemish school ; history painter, studied in 
Rome and then lived mostly at Antwerp. 
Works: Vision of St. Felix, Adoration of 
the Shepherds, Brussels Museum; Hero 
bewailing Leander, Vienna Museum. — 
Rooses (Reber), 156. 

BACKHUYSEN (Bakhuizen), LUDOLF, 
born at Em- 
den, Dec. 18, 
1631, died at 
Amsterdam, 
Nov. 17, 1708. 
Dutch school ; 
marine painter, 
pupil of Aldert 
van Everdin- 
gen and of Hen- 
drick Dubbels, 
butchiefly stud- 
ied from na- 
ture, often ex- 
posing himself to great danger to observe 
the sea in its various aspects. Also painted 
portraits on a small scale. Peter the Great 
visited his studio in Amsterdam. Works: 
Dutch Shipping (1683), four others, National 
Gallery, London ; Boats in a Storm (1696), 
Dulwich Gallery ; Dutch Squadron (1675), 
four others, Louvre ; Man-of-War, Antwerp 
Museum; Port of Amsterdam (1673), Em- 
barkation of Jan de Witt (1690), Agitated 
Sea (1692), The Zuider Zee (1694), two 
Marines, Disembarkation of William IIL 
(1692), Entrance of Dutch Port (1693), 
Building Yard of East India Company at 
Amsterdam (1696), National Museum, Am- 
sterdam ; Ice Landscape, Marine (1689), two 
others, Copenhagen Gallery ; Sea Harbour, 
Stockholm Museum ; Storm at Sea, Portrait 
of Himself, several others, Ludwigslust Gal- 


lery ; Shipwreck, Portrait of Old Man, 
Hermitage, St. Petersburg; Stormy Sea, 
Slightly Agitated Sea (1664), Berlin Mu- 
seum ; Coast View, Bamberg Gallery ; View 
on the Y (1700), Stidel Gallery, Frankfort ; 


, Approaching Storm 
Eq L Bark: at Sea, River Land- 
scape, Vienna Mu. 
seum ; Agitated Sea Ce Palazzo Pitti, 
oy 15B 00 
Florence.—Ch. Blane, Ecole hollandaise ; 
Kugler (Crowe), ii. 502; Meyer, Kiinst. 
Lex., ii. 521. 
BACLER D’ALBE, LOUIS ALBERT 
GUILLAIN, Baron de, born at St. Pol (Pas 


de Calais), Oct. 21, 1762, died in Sévres, 
Sept. 12, 1824. Landscape painter, studied 


from nature in the Alps of Savoy; entered 


the army at the outbreak of the revolution 
and took part in the sieges of Lyons and 
Toulon ; was afterwards director of the topo- 
graphic corps and brigadier-general under 
Napoleon. Left the service in 1813. Works: 
Battle of Lodi; Crossing the Po; Battle of 


Lackerd Abe 


/3O4 


Rivoli ; Battle of Arcola; After the Battle 
of Austerlitz, Versailles Gallery.—Meyer, 
Kinst. Lex., ii. 5265. 

BACON, HENRY, born at Haverhill, 
Massachusetts, in 1839. Subject painter ; 
in 1864 visited Paris, where he became a 
pupil of the Ecole des Beaux Arts and of 


Cabanel; and in 1866-67 studied under — 


Fdouard Frére at Ecouen. Studio in Paris. 
Works: Paying the Scot (1870), W. B. Be- 
ment, Philadelphia ; Boston Boys and Gen- 
eral Gage (1875,) C. R. Rogers, Philadel- 
phia; Franklin at Home (1876), J. B. 


90 


BADALOCCHIO _ 


Thomas, Charlestown, Mass. ; Land! Land! 
Les Adieux (1878) ; Luck of Roaring Camp 
(1881); Lovers’ Quarrel (1882); Le Plei- 
nairiste, In Normandy (Paris Salon, 1883.) 

BADALOCCHIO, SISTO, born in Parma 
in 1581, died in Bologna in 1647. Bo- 
lognese school. By Malvasia called Sisto 
Rosa ; pupil of Annibale Carracci, who took 
him to Rome and employed him in the 
Palazzo Farnese. With Lanfranco, who had 
been his co-disciple in Bologna, he made 
drawings from Raphael's frescos in the Log- 
gie of the Vatican. After Carracci’s death, 
in 1609, he returned to Bologna, and was 
later employed in Parma by the family of 
Este. A good draughtsman, but execution 
rather sketchy. Work: St. Francis Receiv- 
ing the Stigmata, Parma Academy.—Meyer, 
Kiinst. Lex., ii. 527; Malvasia, ii. 517; 
Burckhardt, 871. 

BADIN, JULES JEAN, born in Paris, 
contemporary. Figure and portrait painter, 
pupil of Cabanel and Baudry. Employed at 
national manufactory at Beauvais. Medal, 
3d class, 1877. His Queen of Sheba is 
owned by T. A. Havemeyer, New York. 

BADIN, PIERRE ADOLPHE, born at 
Auxerre, France, in 1805. Genre painter : 
exhibited nothing after 1848. Medal, 3d 
class, 1839 ; Legion of Honour 1849, officer 
1855 ; 1848 to 1850 director of the Gobe- 
lins ; 1850 to 1860 director of the Beauvais 
manufactory ; 1860 to 1870 again director 
of the Gobelins. Works: Beggar Seeking 
Shelter from a Storm (1833) ; Country Doc- 
tor (1839) ; St. Germain of Auxerre, Koarix 
King of the Alans (1844), ordered by State ; 
Defence of St. Jean de Losne against the 
Spaniards in 1636 (1847); St. Dominic 
Preaching (1848).—Larousse. 

BAEHR, JOHANN KARL, born at Riga, 
Aug. 18, 1801, died in Dresden, Sept. 29, 
1869. Portrait and history painter, pupil of 
Friedrich Matthai in Dresden ; visited Italy 
in 1827-29, and returned to Riga, but finding 
no artistic or intellectual incentive there, 
settled in Dresden in 1832, and became pro- 
fessor at the Academy in 1840. His Death 


91 


of Ivan the Cruel is in the Dresden Gallery. 
—Allgem. d. Biogr., i. 769 ; Meyer, Kiinst. 
Lex., 11. 536 ; Kunst-Chronik, v. 53. 

BAEN, JACOBUS DE, born at The 
Hague, March, 1672, died in Vienna in 
1700. Dutch school ; son and pupil of Jan 
de Baen. In 1688 went to England in suite 
of William III. and there painted a much 
admired portrait of the Duke of Colchester. 
Afterwards went to Florence and painted 
for the Grand Duke, and later to Rome, 
where he executed historical and genre pict- 
ures. On account of his gigantic propor- 
tions he was called the Gladiator by his 
colleaguesin Rome. He afterwards worked 
in Vienna.—Siret, 58 ; Meyer, Kiinst. Lex., 
i. 537. 

BAEN, JAN DE, born in Haarlem, Feb. 
20, 1633, died at The Hague, buried March 
8, 1702. Dutch school; portrait painter, 
pupil of his uncle Piemans at Emden, and 
of Jacob Backer at Amsterdam ; greatly es- 
teemed in his time and employed by the 
courts of England (where he painted Charles 
II. and the queen), France, Brandenburg, 
and Tuscany. Established at The Hague 
about 1660. Returned from England in 
1676, when he is mentioned in the registers 
of the guild of painters at The Hague. 
Works: Portraits in most of the public gal- 
leries of Holland ; one of the best is that of 
Prince John Maurice of Nassau, National 
Museum, Amsterdam ; Portrait of Himself, 
Dresden Gallery ; portraits in the Schloss, 
Berlin.—Meyer, Kiinst. Lex., 11. 536; De 
Stuers, 5. 

BAER, MAXIMILIAN, born at St. Jo- 
hannis near Nuremberg, Aug. 24, 1853. 
Still life, history, and genre painter, pupil 
of Nuremberg Art School under Raupp, 
with whom he travelled in the Bavarian 
Alps, and of Munich Academy, under Alex. 
Wagener and Lindenschmit, where he won 
several prizes.—Miiller, 25. 

BAGER, JOHANN DANIEL, born at 
Wiesbaden, in 1734, died Aug. 17, 1815. 
Portrait, genre, landscape, and fruit painter, 
pupil of Fiedler in Darmstadt and of Justus 


BAGGE 


Junker in Frankfort. Best works in Stadel 
Gallery, Frankfort, and Darmstadt Gallery. 
—Meyer, Kiinst. Lex., 11. 545. 

BAGGE, MAGNUS THULSTRUP VON, 
born at Christiansund, Norway, Aug. 9, 1825. 
Landscape painter ; studied first in Copen- 
hagen under Thorwaldsen, then in Chris- 
tiania, and in Diisseldorf under Andreas 
Achenbach, Gude, and Leu; travelled then 
in Norway, Sweden, Bavaria, and Switzer- 
land, and settled in Berlin. Works: Nor- 
wegian Landscapes; Sunset on Bygdin 
Lake, Norway ; Moonrise.—Miiller, 22. 

BAGLIONE, CESARE, born in Bologna 
in middle of 16th century, died at Parma in 
1612. Bolognese school; decorative paint- 
er, rival of Cremonini; excelled in landscape, 
but painted also history, animals, fruits, 
and flowers. Frescos in many palaces in 
Bologna and Parma.—Malvasia, 1. 253 ; Ch. 
Blane, Ecole bolonaise ; Meyer, Kiinst. Lex., 
i. 546. 

BAGLIONE, GIOVANNI, Cavaliere, born 
in Rome about 1572, died about 1645. 
Roman school ; pupil of Francesco Morelli ; 
employed in many considerable works in 
Rome under Sextus V., Clement VIII, and 
Paul V., especially in the Vatican, in S. Gio- 
vanni Laterano, and in St. Peter’s. But he is 
best known as the author of Lives of the 
Painters, Sculptors, and Architects in Rome 
from 1572 to 1642.—Lanzi, i.470 ; Ch. Blane, 
Ecole ombrienne. 

BAGNACAVALLO, BARTOLOMMEO 

) DA, born at Bag- 
nacavallo feos 
magna) in 1484, 
died in Bologna 
in August, 1542, 
Real name Bar- 
tolommeo Ra- 
menghi. Bologn- 
ese school; _his- 
_ tory painter, 
pupil of Frances- 
co Francia, but 
also studied in Rome with Raphael, after 
whose death he returned to Bologna. He 


92 


had a considerable reputation, and was em 
ployed in decorating many public buildings. 
Several churches in Bologna possess pictures 
by him. Among his works are: Circum- 
cision, Louvre ; Holy Family and Saints, 
Bologna Gallery ; Madonna in Glory and 
Saints, Dresden Museum, quite in the style 
of Dosso Dossi, as are his three Saints in 
the Berlin Gallery. Bagnacavallo’s son, 
Giovanni Battista, worked at Rome with 
Vasari and assisted Primaticcio at Fontaine- 
bleau.—Ch. Blane, Ecole ombrienne ; Vas- 


ari, ed. Mil., v. 175 ; Burckhardt, 684 ; Litb- 


ke, Gesch. ital Mal., il olo. | 
BAIA, BAY OF, J. M. W. Turner, Nas 


tional Gallery, London ; canvas, H. 4 ft. 9 
A Beaatin’ expanse of 
land and water, almost purely imaginative, 
with Apollo and the Cumzan Sibyl seated 


in, «97 foe 


under tall pine trees. Castle of Baise seen 
on right, and Pozzuoli (anc. Puteoli), oppo- 
site. 
lection. 
erton, Life ; Cat. Nat. Gal. 

BAILLET, ERNEST, born at Brest, 


contemporary. French school ; landscape 


painter, pupil of Saunier and of Pelouse. 
Medal: 3d class, 1883. Works: 
Brittany (1883); Market of Lannion, Le 
Yaudet, Brittany (1884) ; 
at Vitré (1885). 


BAILLU (Bailly), ERNEST JOSEPH, 


born at Lille, Oct. 17, 1753, died in Ghent, 
Jan. 21, 1823. Flemish school ; history and 
landscape painter, pupil of Ghent and Ant- 
werp Academies, and in 1775-77 of the 
Ecole des Beaux Arts in Paris. Gold medal, 
Ghent, 1811. Works: Contempt (1792), 
Ghent Museum ; Cidipus at Colonus (1796), 
Allegory on Birth of King of Rome (1811), 
Société royale des Beaux Arts, ib.—Biog. 
nat. de Belgique, i. 651. 

BAILLY, DAVID, born at Leyden in 
1584, died after 1661. Dutch school ; por- 
trait painter, first instructed by his father, 
Pieter B., then pupil of Adriaan Verburg, 
and in Amsterdam, 1602-8, of Cornelis van 
der Voort ; went to Italy, spent some time in 


Royal Academy, 1823; Turner Col- 
Engraved by R. Brandard.—Ham-. 


Pont-Scorff, 


Old Wash-houses 


ee er eo "eee 


ee 


eS a ee Se 


BAISCH 


Germany, and returned to Leyden in 1613. 
Works: Female Portrait (1624), Amsterdam 
Museum; Male Portrait, Gittingen Uni- 
versity ; Young Man at Table (1561), A. Du- 
mont, Cambrai.—Ch. Blanc, Ecole hollan- 
daise; Gaz. des B. Arts (1860), viii. 306; 
Meyer, Kiinst. Lex., ii. 563. 

BAISCH, HERMANN, born in Dresden, 
July 12, 1846. Landscape painter; after 
studying in the Stuttgart art school, went 
to Paris in 1868, and was much influenced 
by the landscapes of Rousseau and Dupré. 
In 1869 he entered the studio of Lier at 
Munich, and soon attracted attention by his 
simply-treated though effective views of the 
neighbouring country. Professor of Carls- 
ruhe Art School since 1880. Medals: Vi- 
enna, 1873 ; Munich, 18838. Works: Brook 
with Willows, Spring Morning, Pasture 
with Cattle, Morning Landscape, Herd by a 
Canal in the Rain, Mill by Moonlight (1878), 
Stuttgart Gallery; Wood Interior in Au- 
tumn (1879); At the Watering Trough 
(1883), Hanover Museum.—Meyer, Kiinst. 
Lex., ii. 565 ; Miller, 23. 

BAKALOWICZ, LADISLAUS, born in 
Cracow, Poland. Genre and portrait paint- 
er, pupil of Academy of Warsaw. Works: 
Portrait of the Empress (1865); Falcon 
Chase, Secret Reading (1867) ; Amusement 
at Court (1870) ; Lady with Parrot (1870) ; 
They Follow Us (1872); Girls Drinking Wine 
(1873) ; Louis XIIL Inviting Richelieu to a 
Game of Chess (1876); Henry V.; The 
Visit ; Richelieu’s Cats; Necklace ; Secret ; 
Response (J. Hoey, New York); Casket (F. 
Rogers, Philadelphia); Morning Call (W. 
B. Bement, Philadelphia); Mirror, Love- 
Bird (T. Dolan, Philadelphia); In the Li- 
brary (A. Adams, Watertown, Mass.); Peti- 
tion to the King, Lady and Bouquet, Ladies 
and Mandolin (Mrs. Paran Stevens, New 
York).—Kunst-Chronik, v. 129, 149; viii. 
86 ; 370. 

BAKER, GEORGE A., born in New 
York in 1821, died there, April 2, 1880. 
Portrait painter, pupil of National Acad- 
emy, and studied two years (1844-46) in 


Europe. Noted for his portraits of women 
and children. Elected N. A. in 1851. 
Among his ideal works are: Love at First 
Sight, Children of the Wood and Wild 
Flowers (Mrs. M. O. Roberts, New York) ; 
Faith ; School Girls (W. T. Walters, Balti- 
more). 

BAKER, WILLIAM BLISS, born in New 
York, in 1859. Landscape painter, pupil of 
Bierstadt, M. F. H. de Haas, and of Na- 
tional Academy. Studio in New York. 
Works: Green Pasture—Sultry July Day, 
April Sunshine and the First Green (T. B. 
Clarke); Hiding in the Hay-Cocks (1881) ; 
Brook at Evening (1882); Pleasant Day at 
Lake George (1883). 

BAKER, WILLIAM H., born in 1825, 
died in 1875. Portrait and genre painter ; 
studied and painted in New Orleans several 
years, came to New York in 1865, and in 
1871 took charge of the Brooklyn Art As- 
sociation schools. Works: May Flowers 
(1870) ; Red Riding-Hood (1871) ; Morning- 
Glories, Cherry-Time, Home Regatta (1872); 
Lilies of the Field (1873); Truants from 
School (1875). 

BAKHUYZEN, HENDRIK VAN DE 
SANDE, born at The Hague, Jan. 2, 1795, 
died there, Dec. 12, 1860. Dutch school ; 
landscape painter, pupil of J. Heymans, 
but formed himself chiefly through diligent. 
study of nature; member of Amsterdam 
Academy, and Director of School of Design 
at The Hague in 1822. Medals: Brussels, 
1821; Antwerp, 1822; The Hague, 1839 ; 
Order of Lion, 1847. Works: Land- 
scapes (3) with Animals and Ruins, National 
Museum, Amsterdam. His daughter and 
pupil, Gerardina Jacobus, (born at The 
Hague, July 27, 1826), is a flower and fruit 
painter; medals: Amsterdam, 1860; The 
Hague, 1863; pictures in Haarlem and 
Rotterdam Museum. His son and pupil, 
Julius Jacobus (born at The Hague, June 
18, 1835), is also a landscape painter; 
several prizes, great medal, Amsterdam, 
1871. — Immerzeel, i. 24; Meyer, Kiinst. 
Lex., ii., 524. 


93 


BAKKER. 


BAKKER. See Backer. 

BAKKER-KORFF, ALEXANDER HU- 
GO, born at The Hague, Aug. 31, 1824, died 
in Leyden, Jan. 28, 1882. Genre painter, pu- 
pil at The Hague Academy of Kruseman 
and J. E. J. van den Berg; painted humor- 
ous, often satirical, genre and family scenes. 
Was one of the best modern Dutch artists. 
Works: Calumny; Sick Woman ; The 
Toast (1864); Reading the Newspaper ; 
Lady at Toilet (1867); Daughter of the 
Hero; Scrubbing Maid ; Bric-i-brac Shop ; 
Seamstress ; Clothes Basket (J. Hoey, New 
York); Old Lady Knitting.—Gaz. des B. 
Arts (1867), xxiii. 19; Meyer, Kinst. Lex., 
ii. 567. 

BALAKLAVA, Mrs. E. Butler, Fine Art 
Society, London. After the return from the 
“Valley of Death.” Central figure, a blood- 
besmeared dismounted trooper, who ad- 
vances with clutched sabre and resolute face, 
as if still in battle ; behind him a sergeant 
of the 17th on a chestnut charger, bearing 
on his saddle-bow a dead young trumpeter ; 
at left, riderless horses and various touching 
episodes, with the smoke of the Russian 
guns behind. Engraved by F. Stacpoole. 

BALDASSARE DA REGGIO. See £s- 
tense. 

BALDOVINETTI, ALESSO, born in 
Florence, Oct. 14, 1427, died there, Aug. 29, 
1499. Florentine school. Baldinucci con- 
siders him a pupil of Paolo Uccelli. Regis- 
tered in the Florentine Guild of St. Luke in 
1448, and appears to have had some reputa- 
tion. He was an experimentalist in oil me- 
dium, and the ablest mosaist of his age. 
Vasari says he was the master of Ghirlanda- 
jo. The works which may safely be assigned 
to him are a fresco, with fine landscape back- 
ground, Adoration of the Shepherds (1460), 
Portico of the Annunziata, Florence; a Ma- 
donna and Saints, and an Annunciation, Uf- 
fizi, Florence; Trinity with Saints, Florence 
Academy, and Frescos of Evangelists, Proph- 
ets, and Angels, Chapel of S. Miniato, Flor- 
ence.—C. & C., Italy, ii. 372 ; Meyer, Kinst. 
Lex., ii. 613 ; Vasari, ed. Mil, ii. 591, ed. Le 


Mon., iv. 74, 101; Eastlake, Materials, etc., 
i. 223; Pierotti, Ricordi di A. Baldovinetti 
(Lucca, 1868) ; Ch. Blane, Ecole florentine ; 
Burckhardt, 541; Libke, Gesch. ital. Mal., 
i, 312. 

BALDUNG, HANS, surnamed Grien 
(Grin), born at Gmiind, Suabia, about 1476, 
died at Strassburg, in 1545. German school ; 
history and portrait painter, formed under 
influence of Martin Schongauer, judging 
from the altar wings in the monastery of 
Lichtenthal, near Baden-Baden, painted in 
1496, and afterwards under that of Diirer, 
whose pupil he may possibly have been in 
1507-09 ; settled at Strassburg in 1509, is 
classed as the most remarkable painter of 
his time there, and was elected senator in 
1545. Temporarily (1511-18) employed at 
Freiburg, Brisgau. He obtained his sur- 
name from the peculiar green used in his dra- 
peries, perhaps also from his predilection for 
dressing in green stuffs. Works: Two altar 


wings (1496), Kloster Lichtenthal, Baden ; » 


Martyrdom of St. Sebastian (1507) ; Christ 
on the Cross, Nativity (1512), Aschaffenburg 
Gallery ; Deluge (1516), Bamberg Gallery ; 
Death Kissing a Woman, Death Showing to 
Woman an Open Grave (1517), Christ on the 
Cross (1512), Basle Museum ; Christ on the 
Cross, Crucifixion (1512), Adoration of the 
Magi, Martyrdom of St. Stephen (1522), 
Head of Old Man, Berlin Museum; Death 
of Lucretia. (1530), Raczynski Gallery, ib.; 
Noli me Tangere (1539), Darmstadt Museum; 
Triptych with Baptism of Christ, Frankfort 
Museum; Great Altar in 11 Panels (1511- 
16), Baptism of Christ, Annunciation, Frei- 
burg Cathedral ; Margrave Christoph of Ba- 
den, Margrave’s Family Adoring Madonna, 
four panels with Martyrdom of the Ten 
Thousand, Constantine and Helen Testing 
the Cross, Four Saints, Kunsthalle, Carls- 
ruhe; Palatine Philipp (1517), Old Pinako- 
thek, Munich ; Margrave Christoph of Baden 
(1515), Allegorical Figure, Schleissheim Gal- 
lery; Wisdom at the Abyss (1525 ?), formerly 
in Landauer Briiderhaus, Nuremberg ; Mar- 
tyrdom of St. Dorothea, Prague Gallery ; 


94 


BALEN 


Bust Portrait of Young Man (1515), Vienna 

Museum ; Holy Family, Academy, ib.; The 

Ages of Man in Six Female Figures, Madon- 

na (1530), Liechtenstein Gallery, ib.; Adam 

and Eve (attributed to Cranach), Schénborn 

Gallery, ib.; Adam and Eve (1507, copies 

after Diirer’s in Madrid Museum), Palazzo 

Pitti, Florence; Male Portrait (1539 ?), 

Hampton Court Gallery; Age 

and Youth (?, attributed to An- 

tonello da Messina), Royal In- 

stitution, Liverpool.—Allgem. d. 

Biog., ii. 17; Ch. Blanc, Ecole allemande ; 

Keane, Early Masters, 192 ; Meyer, Kinst. 

Lex., ii. 617; Woltmann, D. Kunst im Elsass, 

278; W. & W,, ii. 440; Zeitschr. fb. K., 1 

257, 283 ; vii. 321. 

BALEN, HENDRIK VAN, born in Ant- 

ss werp in 1575, 
WG died there, Jul 
Cm RS 3 


ff 17, 1632. Flem- 
z) ee ish school; _his- 
C 3 

< 3 GR ; tory painter, pu- 


pil of Adam van 
Noort; studied 
for some years in 
Italy ; afterwards 
influenced by Ru- 
bens, and even by 
Van Dyck, his pu- 
pil, who painted 
his portrait. Member of St. Luke’s Guild 
in 1593, and dean of it in 1609-10. His ec- 
clesiastical subjects are less satisfactory than 
his mythological, to which Jan Brueghel 
supplied landscape backgrounds. Cold in 
feeling, mannered in attitudes, glassy in col- 
ouring ; in nude figures pleasing, and in 
melting style of execution very finished. 
Works : Banquet of the Gods, Louvre; Con- 
cert of Angels, St. John Preaching, Holy 
Trinity, Antwerp Museum; Holy Family, 
Cathedral, ib.; Trinity, Christ on the Cross, 
Adoration of the Shepherds, Flight into 
Egypt, Resurrection, portraits of himself and 
wife, St. James’s, ib.; Fecundity, Brussels 
Museum ; The Seasons’ Offering to Cybele, 
Naiads filling Horn of Plenty, Gods of 


Olympus, National Museum, Amsterdam ; 
Diana and Actzon (landscape by Brueghel), 
Cassel Gallery ; Gathering of Manna, Moses 
Striking the Rock, Brunswick Gallery ; 
Smithy of Vulcan (landscape by Brueghel), 
Berlin Museum; St. Jerome, Banquet of 
the Gods, Bacchanal, Diana Resting after 
the Chase, Four Seasons (landscapes in 
last seven by Brueghel), Nymphs loading 
Mules with Game (animals by Snyder), 
Pinakothek, Munich; Diana and Nymphs 
(landscape by Brueghel), Wedding Feast of 
Bacchus and Ariadne, do. of Peleus and 
Thetis, Diana and Actzon, Dresden Gallery; 
Assumption, Rape of Europa, Vienna Mu- 
seum ; Holy Family, Madonna, Hermitage, 
St. Petersburg ; Marriage of the Virgin, Uf- 
fizi, Florence. His son and pupil, Jan 
(1611-54), painted history and landscapes ; 
went early to Italy, where he studied the 
works of Albani, returned to Antwerp in 1642, 
and was influenced by Rubens. Works: 
Trinity, St. James’s, Antwerp; Garden of 
Love (copy after Rubens’s in Madrid Mu- 


RY / Salon 


seum), Holy Family, Vienna Museum.— 
Biog. nat. de Belgique, i. 665, 668; Ch. 
Blanc, Ecole flamande; Branden, 478; 
Meyer, Kinst. Lex., ii. 642; Michiels, vi. 
953; Revue d’hist. et d’archéol., i. 108 ; Rie- 
gel, Beitrige, ii. 55 ; Rooses (Reber), 152. 
BALESTRA, ANTONIO, born at Verona, 
in 1666, died there, April 21,1740. Venetian 
school; pupil of Giovanni Zeffio, then of An- 
tonio Bellucci, and afterward, at Rome, of 
Carlo Maratti. Lived long at Venice and at 
Verona, where he executed many works. He 
was a clever engraver and a reputable painter, 
and his pictures are held in considerable 
estimation. Examples of his work are found 
in Verona in the Duomo, 8S. Zeno Maggiore, 
S. Bernardino, 8. Niccold, 8. Sebastiano, S. 
M. in Organo, S. M. del Paradiso, and &. 
Tommaso Cantuariense ; and in Venice in 


95 


BALFOURIER 


S. Zaccaria, S. Geminiano, 8. Cassiano, S. 
Eustachio, S. Pantaleone, S. Marziale, and 


AV Rien BL S. M. Mater 


Domini. —Ch. 

Blane, cole 

AB FL ASILFR " vénitienne ; 
Seguier, 9; Meyer, Kinst. Lex., ii. 644. 

BALFOURIER, ADOLPHE PAUL 
EMILE, born at Montmorency, Aug. 11, 
1816. Landscape painter, pupil of Remond. 
Medals : 3d class, 1844 ; 2d class, 1846. Has 
often engraved for l’Artiste. Works: Lake 
Lugano, near Tivoli, Valley of the Cevara 
(1846) ; Mazeppa, Study of Majorca; Lake 
Némi; St. Peter’s Wells at Hyéres (1863) ; 
Pine Woods near Sea (1864) ; Pond of Co- 
taria (1865) ; Ruins of a Convent (1866) ; 
Mouth of the Gapeau (1867) ; Fountain in 
Majorca (1869); Environs of Valencia 
(1874) ; Oil Press (1875). 

BALLAVOINE, JULES FREDERIC, 
born in Paris, contemporary. History and 
genre painter, pupil of Pils. Medal: 3d 
class, 1880. Works: Interrupted Séance 
(1880); Surprise, Water-colour Painters 
(1882); Flower Market, Little Bohemi- 
enne (1883); Paris Bargeman, Before the 
Rehearsal (1884); Among the Rocks 
(1885). 

BALLENBERGER, KARL, born at Ans- 
pach, Germany, July 24, 1801, died in 
Frankfort, Sept. 21,1860. History painter, 
pupil of the Munich Academy under Friedr. 
Hoffstadt, with whom he went to Frankfort 
in 1833, and of the Stadel Institute under 
Philipp Veit. A medizvalist in spirit, he 
painted according to the traditions of the 
early German masters. Works: Portraits 
of Conrad L, Louis of Bavaria, Giinther of 
Schwarzburg, and Ruprecht of the Palatin- 
ate, Kaiser Saal, Frankfort; Scenes from 
Niebelungen, Scenes from Life of St. Eliza- 
beth, Scenes from Life of the Virgin, Nu- 
remberg Merchants before Emperor Maxi- 
milian in Augsburg, Henry the Lion at 
Erfurt in 1181; Gotz von Berlichingen 
among Gipsies, Scenes from Goethe’s Faust, 
Spindler’s Jew, Fouqué’s Magic Ring, Fu- 


neral of Frauenlob.—Allgem. d. Biogr., ii. 
21; Meyer, Kinst. Lex., ii, 651. 

BALLING, OLE PETER HANSEN, born 
at Christiania, Norway, April 23, 1823. 
History and portrait painter, pupil of one 
Jacob Wunderlich, and of the Berlin Acad- 
emy ; visited Copenhagen in 1846, Paris in 
1854, and New York in 1856. At the out- 
break of the Civil War, he joined the Ist N. 
Y. Volunteer Regiment as captain of a Scan- 
dinavian company, and afterwards com- 
manded the 145th Regiment as leutenant- 
colonel. In 1863 he resigned and devoted 
himself again to art. In America he painted 
mostly portraits. Works: Portrait of Gen. 
John Sedgwick, West Point Academy ; do. 
of Admiral Farragut, Annapolis Academy ; 
do. of Gen. Geo. H. Thomas, and Gen. Rey- 
nolds, Union League, Philadelphia; Group 
of 27 Generals on. horseback, Agricultural 
Building, Washington. — Meyer, Kinst. 
Lex., i. 653. 


BALMER, JOSEF A., born at Abtwyl, ~ 


Switzerland, Nov. 27, 1828. History painter, 
pupil in Lucerne of Anton Butler, then, from 
1852, of the Diisseldorf Academy, under 
Miicke and Schadow, and later in Carlsruhe 
under Des Coudres and Canon. Has painted 
many cheap altarpieces for Catholic churches 
in Badenand Switzerland. Works: Death of 
St. Joseph, Cycle for Tell’s chapel, Fluellen ; 
wall paintings and altarpieces, at Kiisnacht, 
Mihlau, Oos, Baldegg, Nottwill, Appenzell, 
and Meierskappel.—Meyer, Kinst. Lex., it 
654 ; Miller, 24. 

BALSGAARD, CARL VILHELM, born 
in Copenhagen, Denmark, Dec. 29, 1812. 
Flower painter, pupil of Copenhagen Acad- 
emy, where he at first studied history and 
portrait painting ; visited Berlin, Dresden, 
Diisseldorf, and Paris in 1855, and Italy in 
1872-73. Member of Copenhagen Academy 
in 1858 ; title of professor in 1867. Works: 
Two pictures (1858), Copenhagen Gallery, 
two in Moltke Collection, ib.; Fruitpiece 
(1856), Kunsthalle, Hamburg.—Weilbach, 42. 

BALTASAR, CARLOS, Don, eldest son 
of Philip IV., Velasquez, Grosvenor House, 


96 


eee ee ee 


BALTHAZAR 


London ; canvas, H. 4 ft. 9 in. x 6 ft. 11 
in. About twelve years old, costume en- 
riched with silver and gold, crimson scarf 
and plumed black hat, mounted on a pranc- 
ing pony, in court of the palace, attended 
by several officers, among whom is Olivares ; 
King and Queen Isabel seen at a balcony. 
Probably painted about 1641; from Wel- 
bore Ellis Agar Collection.—Palomino, 111. 
332 ; Stirling, 1. 630; Curtis, 56. 

By Velasquez, Henry G. Marquand, New 
York ; canvas, H. 1 ft. 8in. x 1 ft. 3 in. 
Bust, about ten years old, black velvet dress 
embroidered ; repetition of same picture in 
Vienna Museum. H. Baillie sale (1868), 
£194 5s., to Bale; Charles Sackville Bale 
sale (1881), £871; sold to Mr. Marquand 
for £2000.—Curtis, 59, 384. 

By Velasquez, Madrid Museum ; canvas, 
H. 6 ft. 3in. x 3 ft. 7 in. Six years old, 
full length, in hunting dress, standing be- 
side a tree, holding in right hand a gun; 
on each side, a dog; background, landscape 
and mountains. Painted in 1635. Etched 
by E. Lemus; C. Alabern ; lithographed by 
A. Blanco; E. C. Cos.—Curtis, 57; Gaz. 
des B. Arts (1881) ; Madrazo, 616. 

By Velasquez, Madrid Museum ; canvas, 
H. 6 ft. 11 in. x 5ft.8in. About six years 
old, galloping on a chestnut horse; he 
wears a plumed hat, armour, and a crimson 
scarf which floats behind, and holds a baton 
in his right hand ; landscape background. 
Painted about 1635, second manner. Old 
copy in Dulwich Gallery ; another in Her- 
mitage, St. Petersburg. Etched by F. 
Goya; Milius; J. Burnet. — Ch. Blanc, 
Ficole espagnole ; Art Journal (1852), 563 ; 
Curtis, 55; Madrazo, 610. 

By Velasquez, Vienna Museum ; canvas, 
H. 4 ft. x 3 ft.2in. Full length, standing, 
about ten years old, in black velvet dress 
and scarf across breast, with left hand on 
sword, right on a chair. Painted about 
1639. Engraved by B. Moncornet; P. de 
Jode. Henry G. Marquand’s picture is a 
repetition (bust only) of this.—Curtis, 58. 

By Velasquez, Sir Richard Wallace, Bart., 


London; canvas, H. 3 ft. x 2 ft.3 in. Full 
length, standing ; dress, black velvet slashed, 
adorned with lace ; behind, a chest covered 
with crimson velvet adorned with gold. 
From sale of Wm. Wells, of Redleaf (1848), 
to Marquis of Hertford for £672 10s.—Stir- 
ling, 11. 633; Curtis, 57. 

By Velasquez, Sir Richard Wallace, Bart., 
London; canvas, H. 3 ft. 10 in. x 3 ft. 1 in. 
About three years old, in a grey silk frock, 
standing, his left hand on his sword, at- 
tached to a violet scarf, and in his right a 
general’s baton, which he uses as a walking- 
stick; plumed hat on a cushion; dark 
curtain in background. From Standish 
sale (1853), at £1680 ; one of the most im- 
portant pictures in Standish Collection.— 
Athenzeum (1853), 710; Art Journal (1852); 
Curtis, 56. 

By Velasquez, Sir Richard Wallace, Bart., 
London; canvas, H.4 ft. 3 in. x 3 ft. 4 in. 
About four years old, black and white dress 
with crimson scarf, on a black horse, at- 
tended by a cavalier and other persons, 
among whom is a dwarf. Purchased in 
Spain about 1827 for Samuel Rogers ; sold 
at his sale (1856) for £1270 10s.—Stirling, 
ii. 630; Cunningham, Life of Wilkie, u. 
469; Curtis, 56. 

BALTHAZAR, CASIMIR VICTOR ALEX- 
ANDRE DB, born at Hayange (Moselle) in 
1809, died in Paris, April 4, 1875. Genre 
and portrait painter, pupil of Paul Dela- 
roche. Medals: 3d class, 1837; 2d class, 
1838; 1st class, 1840. Works: Lara and 
Kaled (1837); Gotz von Berlichingen 
(1837) ; Philip VI. after Battle of Crécy 
(1838); Joan of Arc’s Vision, Joan of Are 
in Prison (1840); Death of Lara (1842); 
Clovis’s Baptism (1845); Trumpeter Hs- 
coffier’s Devotion (1846); Christ and the 
Samaritan Woman (1855); Beside the Foun- 
tain (1859). Many portraits.—Larousse. 

BALZE, (JEAN ANTOINE) RAYMOND, 
born in Rome, May 4, 1818. History paint- 
er, pupil of Ingres; brother of J. EH. P. 
Balze, and co-worker, in copying pictures of 
the Italian masters. Since 1849 has exhib- 


97 


BALZE 


ited pictures of his ownin the Salon. Legion 
of Honour, 1873. Works: Saint Cecilia, 
Christ Calming the Tempest (1849), bought 
by State; Apotheosis of St. Louis (1855), 
bought by State.—Meyer, Kiinst. Lex., u. 
661. 

BALZE, (JEAN ETIENNE) PAUL, born 
in Rome, Aug. 25, 1815, died in Paris, 
March 26, 1884. History painter, pupil of 
Ingres, for whom he and his brother Ray- 
mond copied in Italy the most important 
works of Raphael. In 1861 he invented a 
new process of painting on glazed tiles. 
Medal, 1863 ; Legion of Honour, 1873. A 
copyist, with little originality. Among his 
own works are: Stoning of St. Stephen 
(1861); Coronation of the Virgin, St. Sym- 
phorien, Versailles ; Vision of Ezekiel (1864); 
fresco paintings in court of Ecole des Beaux 
Arts, Paris; Combat between Fitz-James 
and Roderick Dhu; paintings in the churches 
of St. Roch and La Trinité.—Meyer, Kinst. 
Lex., i. 660. ; 

BAMBERGER, FRITZ, born in Wiirz- 
burg, Oct. 17, 1814, died in Neuenhain, 
near Frankfort, Aug. 13, 1873. Landscape 
painter, pupil in 1828 of Berlin Academy, 
then of the marine painter Krause, and in 
Cassel under Primavesi. Went to Munich 
in 1831; visited Normandy in 1845, Eng- 
land, France, and Spain in 1851, and Spain 
in 1858 and 1868. Works: Battlefield of 
Hastings, Views of Gibraltar, Algesiras, and 
Granada. A series of his paintings in 
Schack Gallery, Munich.—Allgem. d. Biogr., 
u. 388; Meyer, Kiinst. Lex., ii. 665 ; Kunst- 
Chronik, ix. 41. , 

BAMBINI, NICOLO, Cavaliere, born in 
Venice in 1651, died there in 1736. Vene- 
tian school; pupil of Mazzoni, and in Rome of 
Maratti. After his return to Venice princi- 
pally imitated Liberi, who was then the 
fashion. Works: Fulvia’s Revenge, Cassel 
Gallery ; Achilles, Royal Palace, Potsdam.— 
Meyer, Kiinst. Lex., ii. 666; Zanetti, Pitt. 
Venez., 431. 

BAMBOCCIATE. See Cerquozzi. 

BAMBOCCIO. See Laar, 


BANNISTER, E. M., born at St. An- 
drews, New Brunswick, in 1833. Land- 
scape painter ; studied at the Lowell Insti- 
tute and under Dr. Rimmer in Boston, . 
painting many years in that city. His 
Under the Oaks received a medal at Phil- 
adelphia, 1876. Studio in Providence. 
Works : Storm (1879). 

BANQUET OF THE CIVIC GUARD, 
B. van der Helst, National Museum, Amster- 
dam; represents a company of trained bands, 
twenty-five figures, life-size, full-length. 
The Spanish Ambassador is shaking hands 
with one of the principal figures. Sir J. 
Reynolds says: “This is, perhaps, the first 
picture of portraits in the world.”—Beechey, 
Reynolds’ Works, ii. 197. 

BARABAS, NICOLAUS, born at Markos- 
falva, Transylvania, Feb. 22, 1810. Portrait 
painter, pupil of Vienna Academy, and of. 
Marké ; travelled then in Moldau and Wal- 
lachia and visited Rome. In 1837 he be- 
came member of the Pesth Academy, and . 
since 1842 has travelled all over Europe. Is 
noted for his ideal female figures; has 
painted more recently several historical and 
genre scenes. Works: Portraits of Pala- 
tines Joseph and Stephen, Baron Vesselényi, 
Bishop Pyrker, Gen. Gorgei, Gen. Klapka. 
—Brockhaus, ii. 464 ; Wurzbach, i. 147. 

BARABINO, NICCOLO, born at Pier 
d’Arena, near Genoa, Italy, in 1833. His- 
tory painter ; studied in Florence, where he 
won reputation with his first picture, Con- 
solatrix Afflictorum, painted, 1859, for the 
hospital at Savona. His principal work is 
the Death of Pope Boniface VI.—Miiller, 
25. 

BARBALONGA, JUAN DE. See Ver- 
meyen. 

BARBARA, ST., Palma Vecchio, 8. M. For- 
mosa, Venice ; altarpiece in six panels. St. 
Barbara standing with her palm and crown 
on a pedestal flanked by two pieces of can- 
non, on central panel; SS. Anthony, Sebas- 
tian, Dominic, and John Baptist on sides ; 
the Virgin bending over the dead body of 
Christ, on the pinnacle. Painted for altar 


98 


BARBARELLI 


of the Bombardieri, St. Barbara being the 
patroness of the Venetian artillerists.— 
C. & C., N. Italy, ii. 465 ; Rio, iv. 169. 

BARBARELLI, GIORGIO. See Giorg- 
one. 

BARBARI (Barbaris), JACOPO DE’, born 
in Venice between 1440 and 1450, died be- 
fore 1516. Venetian school. Probably iden- 
tical with Jacomo Barberino Veneziano, who 
is said to have gone to Germany and to 
Burgundy and there adopted the art of 
those countries. Ephrussi thinks that Ja- 


PE, |! WS 


(eg Sa 
Gk 


all = mn eel) 
1 ca ES 
i = 


I: 
| 


| 


Wei GF p SS a I 
| SNe s 
Th 


is on a panel of 1504 in the Augsburg Gal. 
lery, and on a head of Christ in the Weimar 
Museum. Other works: Christ Blessing, 
St. Catherine, St. Barbara, Galatea (attrib- 
uted to Botticelli), Dresden Gallery ; Ma- 
donna and Saints, Berlin Museum ; Portrait 
of Young Man, Vienna Museum; do., Berga- 
mo Gallery.—C. & C., N. Italy, 1.229; Meyer, 
Kiinst. Lex., ii. 706; Thausing, Diirer, 216 ; 
Gaz. des B. Arts (1861), xi. 311, 445 ; (1873), 
viii. 223 ; (1876), vii. 363; Notizia d’opere 
di Disegno, pub. de D. I. Morelli (Bassano, 


M1 


Banquet of the Civic Guard, B. van der Helst, National Museum, Amsterdam. 


copo went to Nuremberg before 1494, and | 1800), 77, 221 : Lermolieff, 57,168 ; Zeitschr. 
learned the technics of engraving there from | f. b. K., xii. 339. 


Wohlgemuth. He was formerly known only 
as an engraver, and called the Master of the 
Caduceus from the mark which he used upon 
his plates. He was the colleague of Mabuse 
in the service of John of Burgundy, Bishop 
of Utrecht, and excelled as a painter and 
engraver. Supposed also by some to have 
been identical with Jacometto of Venice and 
with Jacob Walch, alluded to in Diirer’s cor- 
respondence as an artist who had given him 
‘valuable hints in his youth. His signature 


ae 


BARBARI (Barbaris), NICCOLO DE, 
beginning of 16th century. Venetian school ; 
of northern education, and probably a co- 


99 


BARBAROJA 


labourer in Venice with Marziale. His name 
appears on a picture of the Woman taken 
in Adultery, in the Palazzo Alvise Mocenigo, 
Venice, which for hardness of colour, repul- 
siveness of faces, and stiffness of drapery, 
has hardly its equal. It shows a painter of 
the school of Gio. Bellini under strong 
northern influence.—C. & C., N. Italy, i. 228; 
Meyer, Kiinst. Lex., ii. 716 ; Gaz. des B. Arts, 
1st Series, xi. 312, 445; Burckhardt, 602. 

BARBAROJA. See Pernia. 

BARBAROSSA. See Frederick Barbarossa. 

BARBATELLI, BERNARDINO. See 
Poccetti. 

BARBERIGO, MARCO, portrait of Doge, 
Titian, Palazzo Giustiniani, Padua; canvas, 
H. 3 ft. 2 in. x4 ft.6in. Painted about 1508; 
sold in 1581 by Pomponio Vecelli to Cristo- 
foro Barberigo.—C. & C., Titian, 1. 114 ; Sel- 
vatico, Di Aleuni Abbozzi di Tiziano (Padua, 
1875); Burckhardt, 715. 

BARBIER, NICOLAS ALEXANDRE, 
born in Paris, Oct. 18, 1789, died at Sceaux, 
Feb. 4, 1864. Genre and landscape painter, 
pupil of Xavier Leprince. Medals: 3d class, 
1839 ; 2d class, 1842; L. of Honour, 1842. 
Works: Castle of Muette (1824); Environs of 
Meulan, Village Sacristy (1832) ; Refectory 
of Convent (1833); Rural Household in a 
Ruin of the 11th Century (1839) ; Banks of 
Seine, View in Bourbonnais (1842) ; Chateau 
de Chantilly (1846) ; Te Deum in St. Etienne 
du Mont in 1721 (1848); Valley of Fonte- 
nay, Environs of Bagneux (1850) ; Hamlet 
of Brézolles (1851); Meeting of Dominican 
Monks, Fontenay-aux-Roses (1857); Bur- 
gundy Canal (1859); Road to Sceaux (1861). 

BARBIERI, GIOVANNI FRANCESCO. 
See Guercino. 

BARCLAY, EDGAR, contemporary. 
British landscape and figure painter ; pict- 
ures relate to Moorish, Italian, and English 
popular life. Exhibits at Royal Academy 
and Grosvenor Gallery. Works: Annuncia- 
tion to the Shepherds (1877); Moorish Villa, 
Olive Harvest in Algeria, Bay of Algiers, 
Vesuvius from above Pompeii (1878) ; Olive 
Gathering, By the Severn, Mosque at Al- 


giers (1879); Almond Blossoms, Grounds 
of Moorish Villa, Kabyle Woodcutter, For- 
tune-Telling at Algiers (1880); Thililit— 
Algeria, Sunset in the Jurjura— Algeria, 
Evening Prayers—Algeria (1881); Going to 
the Fountain, Passing Glances, Squirrels’ 
Playground, Autumn Berries (1882) ; Somer- 
setshire Flood, On Sedgmoor, Needless 
Alarm, Among the Bluebells, Bird Nesting 
(1883) ; Sporting with Leaves (1884) ; Hush! 
(1885).—Meyer, Kiinst. Lex., iii. 12. 

BARDON, M. F. See Dandré-Bardon. 

BAREND VAN BRUSSEL. See Orley, 
Bernard. 

BARENTSZ (Barent, Barendsen, Ber- 
nart), DIRK, born in Amsterdam in 1534, 
died there in 1592. Dutch school; history 
and portrait painter,son and pupil of Dooven 
Barentsz, (flourished first half of 16th cen- 
tury), then studied several years in Venice 
under Titian, who evinced especial fondness 
for him; visited France and returned to Am- 
sterdam about 1562. Of his mythological - 
and biblical paintings, much commended by 
K.van Mander, none have been handed down 
to us. Works: Two Archery Pieces (one 
dated 1562), Doelenstuk with numerous por- 
traits, Portrait of Duke of Alva, National 
Museum, Amsterdam; Male Bust-portrait, 
Vienna Museum ; do., Liechtenstein Gallery, 
ib.—Meyer, Kiinst. Lex., iii. 15. 

BARGUE, CHARLES, born in Paris, died 
there in 1883. Genre painter, pupil of Gé- 
rome; did not send any pictures to the Salon. 
Began as a lithographer, and was awarded 
medals for lithography in 1867 and 1868. 
His few pictures are noted for excellence of 
colour and technical execution. Works: Play- 
ing on the Flute (Pillet sale, 1881, 30,000 
fr.) ; Bashi-Bazouk (Miss C. L. Wolfe, New 
York); Algerian Guard, Artist and his Model, 
The Almée, Playing Chess on the Terrace, 
his last work (W. H. Vanderbilt, New 
York). 

BARILLOT, LEON, born at Montigny-lez- 
Metz, Lorraine ; contemporary. Landscape 
and animal painter ; pupil of Cathelineaux 
and of Bonnat. Medals: 3d class, 1880 ; 2d 


100 


BARKER 


class, 1884. Works: Lakes of St. Paul-de- 
Varax (1880); Gust of Wind on Borders of 
La Manche, Noirand and his Mother (1883); 
La barriére, The Favourite (1884); Autumn, 
At the Top of the Heath of St. Sauveur-le- 
Vicomte (1885). 

BARKER, THOMAS (cailed Barker of 
Bath), born near Pontepool, Monmouthshire, 
England, in 1769, died at Bath, Dec. 11, 1847. 
Son and pupil of Benjamin Barker (died 
1793), animal painter; studied, 1790-93, in 
Rome, and exhibited three Italian landscapes 
in 1796. Painted chiefly rustic subjects, but 
his best work is a large fresco in his house 
at Bath, Inroad of the Turks upon Scio in 
‘1822. His Woodman, Old Tom, The Gypsy, 
and other rustic groups, were very popular. 
Woodman and Dog in a Storm, National 
Gallery, London. His brother Benjamin 
(1776-1838) was an animal painter of some 
merit.—Redgrave ; Art Union, 1848; Cat. 
Nat. Gal. ; 

BARKER, THOMAS JONES, born at 
Bath, England, in 1815, died March 28, 
1882. Battle and portrait painter, son and 
pupil of Thomas Barker, landscape painter, 
and student in 1834 in Paris of Horace 
Vernet ; was a frequent exhibitor at the Sa- 
lon from 1835 to 1845, and painted several 
pictures for Louis Philippe, notably The 
Death of Louis XIV., destroyed at Palais 
Royal in 1848. Returned about 1845 to 
England, where he exhibited many pictures 
at the Royal Academy. Works: The Trouba- 
dour (1849); News of Flodden (1850); Inci- 
dent in Life of William Rufus, Meeting of 
Wellington and Blucher (1851); Allied Gen- 
erals before Sebastopol, Relief of Lucknow, 
Napoleon after the Battle of Bassano, 
Wellington Crossing the Pyrenees, Dawn of 
Victory—Lord Clyde (1862); Horse Race at 
Rome (1865); Studio of Salvator Rosa (1865) ; 
A Moss-Trooper, Dean Swift and Stella 
(1869); The Melée—Charge of Cuirassiers 
and Chasseurs (1872); Riderless War Horses 
after Sedan (1873); Balaklava (1874); Re- 
turn through the Valley of Death (1876).— 
Meyer, Kiinst. Lex., ili, 22; Art Journal 


(1858), 126; 
(1867), 158. 

BARLOW, FRANCIS, born in Lincoln- 
shire, England, in 1626, died in London 
in 1702. Animal painter, pupil of Wm. 
Sheppard, portrait painter. Began by 
painting portraits, but afterwards won rep- 
utation as an animal painter, engraver, and 
etcher.—Redgrave ; Meyer, Kiinst. Lex., iii. 
23. 

BARNA (Berna), of Siena, latter half of 
14th century, died in 1381 (?). No traces 
remain of the frescos which, according to 
Vasari, he painted in 8S. Margarita of Cor- 
tona and §. Agostino of Siena. In 1369 he 
went to Arezzo and executed many fres- 
cos, one of which still exists in the Ves- 
covado, though much injured. The cathe- 
dral at S. Gimignano contains the injured 
relics, remains of a long series of fres- 
cos representing scenes from the New 
Testament, begun by Barna and finished 
after his death by Giovanni d’Asciano. In 
composition Barna appears to be a continu- 
ator of Duccio, while in type he follows the 
lead of Ugolino and Simone di Martino. 
His colour is an exaggeration of that of 
Simone, his drawing is minute, ornamenta- 
tion copious, and treatment flat. Vasari 
says he was killed by a fall from a scaffold- 
ing at S. Gimignano.—C. & C., Italy, i. 
107; Meyer, Kinst. Lex., iii. 24; Vasari, 
ed. Mil., i. 647; Gaz. des B. Arts (1859), 
ii. 170 ; Milanesi, Siena, 168. 

BARNABA DA MODENA (Barnabas de 
Mutina), latter half of 14th century. Bo- 
lognese school. Contemporary of Tommaso 
da Modena, but superior to him ; he also sur- 
passed the Bolognese and Pisans of his 
time, and approached the better Sienese 
painters. His Madonnas, a favourite sub- 
ject, have an affectation of grace, regular 
forms and proportions, pouting lips, and 
long-fingered and coarse-jointed hands. The 
earliest extant work by him, a Madonna in 
the Stidel Gallery, Frankfort, dated 1367, 
well illustrates his style. Another Madonna, 
dated 1369, is in the Berlin Museum, and a 


(1860), 183; (1861), 253; 


101 


BAROCCI 


Coronation of the Virgin, dated 1374, is in 
the possession of Lord Wensleydale, Eng- 
land. Other examples are in S. Francesco, 
Pisa, and in the Modena Gallery.—C. & C., 
Italy, ii. 220; Meyer, Kitinst. Lex., ili. 25 ; 
Vasari, ed. Le Mon., ii. 93. 

BAROCCI (Baroccio), FEDERIGO, called 
also Fiori da Ur- 
bino, born at Ur- 
bino in 1528, 
died there, Sept. 
31, 1612. Ro- 
man school; son 
and pupil of Am- 
brogio Barocci ; 
afterward stud- 
ied under Fran- 
cesco Menzocchi 
and Battista 
Franco at Urbi- 
no. In 1548 went to Rome and both stud- 
ied and copied works of Raphael four years. 
On return to Urbino painted a St. Margaret 
and other works which gave him a great rep- 
utation. In 1560 he was invited to Rome by 
Pius IV., and painted in the Vatican with 
Federigo Zucchero. While thus engaged he 
was poisoned by his rivals, and so injured 
that he was never after able to work more 
than two hours a day. The remainder of 
his life was chiefly spent at Urbino. Ba- 
rocci’s style resembles that of Correggio, 
whose works he studied. He was a de- 
cided mannerist, able in design, but in- 
ferior as a colourist. Among his easel pict- 
ures are: Crucifixion, Duomo, Genoa; De- 
scent from Cross (1569), Duomo, Perugia ; 
Madonna del Popolo, Christ and Magdalen, 
Portrait of Duke of Urbino, Uffizi, Flor- 
ence; Madonna di S. Girolamo (copy of 
Correggio), Pitti, Florence ; Martyrdom of 
S. Vitale (1583), Brera, Milan; Annuncia- 
tion, Eestacy of St. Michelina, Vatican ; 
Noli me tangere, Palazzo Corsini, Rome ; 
Circumcision (1580), Madonna in Glory, 
Louvre; Madonna and Saints, Dresden 
Gallery ; Madonna della Gatta, National Gal- 
lery, London ; two Holy Families and Por- 


trait of a Man, Hermitage, St. Petersburg. 
—Meyer, Kiinst. Lex., ii. 27; Vasari, ed. 
Mil., vii. 91; Burckhardt, 759 ; Ch. Blanc, 
Ecole ombrienne. 

BARON, HENRI (CHARLES ANTOINE), 
born at Besanc¢on, in June, 1816. Genre 
painter, pupil of Gigoux, made his debut in 
the Salon in 1840, then visited Italy. Medals: 
3d class, 1847, 1855, 1867; 2d class, 1848 ; 
L. of Honour, 1859. Works: Sculptor’s 
Studio (1840); Giorgione Painting Gas- 
ton de Foix (1844); Andrea del Sarto Paint- 
ing Madonna del Sacco, Summer Evening 
(1847) ; Child Sold by Pirates, Spring in 
Tuscany (1848); Touch and Hearing, Vin- 
tage in the Romagna (1855), Luxembourg 
Museum; Harlequinade (1857); Painters’ 
Festival at Italian Tavern (1859) ; Archery 
in Tuscany (1864); St. Luke’s Festival 
in Venice (1867); The Skaters (1870) ; 
His Eminence at his Nephews’, Bowlers 
(1874) ; Street Corner at Catania (1876) ; 
Bébé (1878); Fair Naturalist (Mrs. Paran ~ 
Stevens, New York); Archer’s Rest (C. H. 
Wolff, Philadelphia) ; Wine and Mirth (C. P. 
Huntington, New York); Wild Flowers (J. 
Hoey, New York).—Larousse, ii. 249; Meyer, 
Kiinst. Lex., iii. 32; Miiller, 26. 

BARRET, GEORGE, born in Dublin, Ire- 
land, in 1732 (1728?), died at Westbourne 
Green, near London, May 29, 1784. Land- 
scape painter, son of a draper and appren- 
ticed to a stay-maker, but learned to colour 
prints and became drawing master at the 
West drawing school in Dublin. Went in 
1761 to London, where he became a suc- 
cessful landscape painter, earning, it is said, 
£2000 yearly. Became master painter to 
Chelsea Hospital, but died bankrupt and 
left his family dependent on the Royal 
Academy, of which he was one of the foun- 
dation members. His best works are in the 
Portland and Buccleugh Collections. His 
son George (1774-1842) was a water-colour 
painter, and one of the foundation members 
of the Water-Colour Society.—F. de Con- 
ches, 183 ; Redgrave ; Meyer, Kinst. Lex., 
ii. 40 ; Sandby, i. 100. 


102 


BARRIAS 


BARRIAS, FELIX JOSEPH, born in 
History painter, 


Paris, Sept. 13, 1822. 
pupil of Léon Co- 
eniet in 1836, ob- 
tained the grand 
prix de Rome in 
1844, for his pict- 
ure of Cincinnatus 
receiving the Dep- 
uties of the Senate. 
First exhibited at ~ 
the Salon in 1847. 
Painted frescos in 
S. Eustache, La Trinité, in the Grand Hotel 
du Louvre, and other public buildings. 
Medals: 3d class, 1847; 1st class, 1851 ; 
9d class, 1855; L. of Honour, 1859. 
Works: Roman Spinning Girl, Sappho 
(1847) ; The Exiles of Tiberius (1858), Lux- 
embourg Museum; Dante Alighieri (1853), 
Tarbes Museum; Michelangelo in the Sis- 
tine Chapel, Pilgrims to the Jubilee in 1300, 
Laval Museum ; Landing of French Troops 
in the Crimea, Versailles Museum; Gauls 
Insulted by Romans, Autun Museum ; 
Death of Socrates, Electra at her Father’s 
Tomb (1873); Conspiracy in Venice in 
1530 ; Titian Painting a Venus ; La Picardie 
(allegorical composition), Amiens Muse- 
um; Olympian Gods, Allegory of Music, 
New Opera, Paris ; Sea Bath en famille at 
Dinard (1883) ; Charity at Venice, She was 
an Andalusian and a Countess (1884) ; 
Death of Chopin (1885).—Meyer, Kiinst. 
Lex., iii. 41 ; Miller, 27. 

BARROSO, MIGUEL, born at Consu- 
egra in 1538, died at the Escorial, Sept. 29, 
1590. Spanish school; pupil of Becerra, 
became painter to the king in 1589, and 
executed frescos in the chief cloister of the 
Escorial.—Stirling, i. 250; Meyer, Kunst. 
Lex., iii. 45. 

BARRY, FRANCOIS BERNARD, born 
in Marseilles, May 3, 1813. Landscape and 
marine painter, pupil of Aubert and Th. 
Gudin. His marine paintings are partic- 
ularly good. Medals: 3d class, 1840; 2d 
class, 1843. Works: A Fog, Fishing Boats 


- ! 


(1840) ; Leaving the Harbour of Marseilles, 
Tunny-Fishing (1843) ; Arrival of the Queen 
at Tréport (1845); After the Storm, Ships 
Becalmed (1849); New Parliament House 
in London, Entrance to Marseilles (1855) ; 
Reception of Cardinal Latrizzi in Marseilles 
(1857) ; Napoleon III. receiving Queen Vic- 
toria at Cherbourg (1859), Marseilles Muse- 
um ; Arrival of the Waters of the Mediter- 
ranean at Lake Timsah (1863), Suez Com- 
pany ; View at Birket-el-Sab (1863), Prince 
Halim ; Ruins of Karnak, First Cataract of 
the Nile (1864) ; Tombs of the Caliphs at 
Cairo (1867); Moon-Rise at Sea, View at 
Birket-el-Essabé (1868); Constantinople, 
Entrance to Marseilles (1869); Ajaccio, 
Tarmouch (1870); Alexandria (1874) ; Pi- 
rate fleeing from a Cruiser, Entrance to the 
Bosphorus, Inside the Harbour of Constan- 
tinople (1875) ; Ironclads at Toulon (1876) ; 
Bark in Distress, St. Petersburg in Evening 
(1880); Review of Fleet at Cherbourg 
(1881) ; Capture of Sfax (1882).—Larousse, 
il, 272. 

BARRY, JAMES, born in Cork, Ireland, 
Oct. 11, 1741, 
died in London, 
Feb. 22, 1806. 
Studied in Dub- 
lin under Rob- 
ert West ; went 
in 1765, by the 
aid of Edmund 
Burke, to Rome, 
where he re- 
mained five 
years. Though 
the pictures ex- 
hibited on his return met with but moder- 
ate success, he became an A. R. A. in 1772 
and R. A. in 1773, and received in 1782 the 
appointment of professor of painting ; but 
his lectures gave offence and he was removed 
and expelled. After this he lived in quasi re- 
tirement until his death. The defects of his 
education, his violent temper, lack of judg- 
ment, and the blind devotion to high art 
which led him to handle a class of subjects 


103 


BARTH 


whose adequate treatment demanded higher 
powers and much greater technical skill 
than he possessed, prevented Barry from 
attaining that measure of success to which 
his talents fairly entitled him. His picture 
of Venus (Society of Arts), Jupiter and Juno, 
and the Wounded Philoctetes, illustrate his 
ambitious weakness ; his Death of General 
Wolfe, who, together with all the dramatis 
persone, is represented nude, proves the 
absurd extent of his faith in the academic 
style ; while his six pictures of the Civiliza- 
tion and Regeneration of Man, two of which 
are 42 feet in length, painted for the Society 
of Arts between 1777 and 1783, though re- 
markable for the inventive qualities dis- 
played, attest his feebleness as a draughts- 
man and colourist. Among his other works 
are his own portrait in the National Portrait 
Gallery, and his Adam and Eve at 8S. Ken- 
sington.—Fryer, Works of J. Barry (Lon- 
don, 1809) ; F. de Conches, 283 ; Ch. Blane, 
Ecole anglaise ; Meyer, Kiinst. Lex., 11. 45 ; 
Sandby, ii. 182 ; Portfolio (1878), 150. 
BARTH, FERDINAND, born at Parten- 
kirchen, Bavaria, 
Nov, 11,1848: 
History and 
genre painter, 
pupil in Nurem- 
berg of Kreling, 
then of the Mu- 
nich Academy 
under Piloty and 
Caspar Braun. 
He took part in 
the campaigns of 
1866 and 1870, 
travelled ieee Germany, France, Italy, 
and Seitreriauel! and became professor at the 
Academy and at the Art School of Industry 
in Munich. Medals in Vienna and Munich. 
Works: Quarrelling Landsknechts, Dance 
of Death, Merchant of Venice, Torquato 
Tasso, Paganini in Prison (1883), Parsifal, 
Cupid at the Door.—Miller, 27. 
BARTHEL, GUSTAV ADOLF, born in 
Brunswick, in 1819. Portrait painter, son 


and pupil of the engraver Friedrich Barthel 
(1785-1846), and pupil of Stieler and Kaul- 
bach at Munich, and of Lessing at Diissel- 
dorf. In 1852 he was appointed painter to 
the Duke, and in 1857 inspector of the Gal- 
lery in Brunswick. Works: Portraits of 
Dukes Ferdinand, Frederic William, Charles 
William, and William of Brunswick, Por- 
trait of Princess Alexandrine of Hohenlohe. 
—Miiller, 28. . 
BARTLETT, WILLIAM HENRY, fee 
in London; contemporary. . Landscape 
painter, Davi in Paris of Bouguereau and 
of Tony Robert-Fleury. Exhibits at Royal. 
Academy, Grosvenor Gallery, and Paris 
Salon. Works: Return from Seal-Hunt— 
Ireland (1881) ; On the Alert, Loading Corn 
—West Ireland, Ellestrin Bay—West Ire- 
land (1882); Summer-Time—Lagoon of 
Chioggia near Venice, Netting Granchios— 
Ghiog ggia (1883) ; Bad Wind for Fish (1884). 
BARTOLI (di Bartolo), TADDEO, Sien- 
ese school, born in Siena in 1363, died there 
in 1422. Son of Bartolo di Mino, a barber ; 
early began a successful practice ; in 1389 
was a member of the council on the works 
in the cathedral of Siena. In 1390 he 
painted for 8. Paolo of Pisa the Virgin and 
Saints now in the Louvre, and in 1393 for 
Cattaneo Spinola and for S. Luca, Genoa, 
two altarpieces. An altarpiece of the Ma- 
donna and Saints was executed in 1395 for 
S. Francesco, Pisa, and this was followed by 
a series of frescos in the same church, 
among the best of which is the Apostle’s 
Visit to the Virgin, a work of great spirit. 
The breadth and motion of drapery, the 
firm decision in the drawing, and the bold 
freedom of action in difficult positions are 
worthy of the 16th century. After com- 
pleting his labours at Pisa, Taddeo re- 
turned to Siena, and painted several years 
in the cathedral. A few panels by him yet 
remain, but most of his frescos there are. 
obliterated. He next painted some pictures 
for the Duomo of S. Gimignano, two of 
which are preserved in the Palazzo Commu- 
nale. In 1403 he was at work in Perugia, 


104 


BARTOLO 


where he painted for S. Agostino a Descent 
of the Holy Spirit ; for S. Francesco a Vir- 
gin and Child, now in the Perugia Acad- 
emy; and for S. Domenico frescos of the 
life of S. Catherine, now obliterated. The 
next year he was again in Siena, where he 
laboured for several years in the Duomo 
and the Palazzo Pubblico. Taddeo stood 
at the head of the Sienese school, yet he did 
not cause it to progress nor exercise any 
improving influence upon his successors. 
Siena really gained less from him than from 
the Lorenzettii—C. & C., Italy, 1. 156; 
Liibke, Gesch. ital. Mal, i. 178; Meyer, 
Kinst. Lex., ii. 58 ; Vasari, ed. Mil., 1. 33 ; 
W. & W.,.1. 472. 

BARTOLO DI FREDI, born about 1330, 
buried Jan. 26, 1409. Sienese school ; some- 
times called Bartolommeo di Manfredi. 
He was associated with Andrea Vanni in 
1353, was registered in 1355 in the guild of 
Siena, and employed in 1361 in the Sala del 
Consiglio, Siena. From 1362 to 1366 he 
was at S. Gimignano, where he had pre- 
viously (1356) decorated part of the parish 
church with scenes from the Old Testament. 
On his return to Siena he was employed 
with Jacomo di Mino’ in decorating the 
cathedral, and in 1372 he became a member 
of the government. Of his extant pictures 
a Descent from the Cross (dated 1382), in 
the Sacristy of S. Francesco of Montalcino, 
and an altarpiece, part in the sacristy and 
part in the Sienese Academy, show a mixt- 
ure of the styles of Simone and Lorenzetti. 
Adoration of the Magi by him in the Acad- 
emy; St. Peter, in the Louvre, Paris. Both 
drawing and colour are hard, and the latter 
is flat and red in the shadows. Gold is lav- 
ished on the accessories and ornaments.— 
OC. & C., Italy, ii. 148 ; Meyer, Kiinst. Lex., 
iii. 61; Vasari, ed. Le Mon., ii. 218, N. 1; 
919, N. 4; Baldinucci, i. 297; Gaz. des 
B. Arts (1870), ii. 29. 

BARTOLOMMEO BOLGHARINI, 
BOLOGHINI. See Bulgarini. 

BARTOLOMMEO, Fra, born probably at 
Suffignano, near Florence, in 1475, died in 


or 


Florence, Oct. 31, 1517. Real name Bar- 
tolommeo di Paolo di Jacopo del Fattorino ; 
commonly called 5 

della Porta from 
the vicinity of 
his house to the 
gate of S. Pier 
Gattolino. Ap- 
prenticed when 
nine years old to 
Cosimo Roselli, 
with whom he 
remained until 1490, meanwhile studying 
the frescos of Masaccio and Filippino at 
the Carmine and the works of Perugino 
and Leonardo da Vinci. On leaving the 
studio of Rosselli, where Bartolommeo had 
formed what proved to be a life-long friend- 
ship with Mariotto Albertinelli, the two en- 
tered into a partnership which ceased in 
October, 1499, when Bartolommeo, under 
the influence of Savonarola, gave up paint- 
ing. In obedience to Savonarola’s com- 
mand he had in 1497 burned his draw- 
ings from the nude, and in the following 
year, when the Convent of 8. Marco was 
besieged, had vowed that if he survived 
he would join the Dominicans. This he 
did July 26, 1500, leaving his commenced 
fresco of the Last Judgment in the ceme- 
tery of S. M. Nuova to be finished by Al- 
bertinelli. Retiring into the convent of S. 
Marco, Fra Bartolommeo, as he was thence- 
forward called, renounced painting alto- 
gether until 1506, after which, with the 
assistance of Fra Paolino and Albertinelli 
(1508-1512), he painted a noble series of 
altarpieces and devotional pictures. In 1508 
he went to Venice, in 1510 to Rome, and in 
1512 and 1517 to Pian di Mugnone. With 
these exceptions he lived in Florence until 
his death. After Leonardo, to whom he 
was greatly indebted, Fra Bartolommeo may 
be considered the greatest painter of the 
Florentine school. None excelled him in 
dignity of style, none equalled him in the 
management of drapery, the harmonious 
use of colour, or in stateliness of composi. 


105 


BARTOLOMMEO 


tion. His altarpieces have that nobility of 
character which springs from the symme- 
try of their arrangement and the perfect 
balance of their parts. Their beauty is the 
beauty of repose, of self-contained though 
earnest expression, of harmony between at- 
titude and action. Works before 1501: 
Portrait of Savonarola (1496), Sig. Rubieri, 
Florence ; Last Judgment (1498-9), fresco 
in the little Museum of 8. M. Nuova; Trip- 
tych (1500), Poldi Collection, Milan. Works 
after 1505: Assumption of the Virgin, Be- 
sancon Cathedral, France ; Ecce Homo, De- 
scent from Cross, St. Mark, Christ and Evan- 
gelists (1516), Madonna with Saints (1512), 
Holy Family, Palazzo Pitti, Florence ; Isaiah, 
Job, Madonna and Patron Saints of Flor- 
ence, Uffizi, Florence; Meeting of Christ 
and Apostles at Emmaus, Lunette (1507-8), 
S. Marco; altarpiece, Madonna with Saints 
(1509), S. Martino, Lucca; God the Father 
with Saints (1509), Madonna della Miseri- 
cordia (1515), Lucca Gallery ; Madonna, 
Hermitage, St. Petersburg; Marriage of St. 
Catherine (1511), Aree (1515), Lou- 
vre; The Virgin Mary Appearing to St. Ber- 
nard, Portrait of Savonarola as St. Peter 
Martyr, Christ Bearing his Cross, St. Vin- 
cent, Florence Academy; Paul and Peter, 
Quirinal, Rome ; Holy Family, Palazzo Cor- 
sini; Assumption (1516), Museum, Naples; 
do., Museum, Berlin; Holy Family, Pan- 
shanger, England; Madonna del Cappuc- 
cino, Gallerie Abel, Paris; Presentation in 
Temple (1516), Vienna Museum.—C. & C., 
Italy, iii, 427; Vasari, ed. Mil, iv. 175, 
212; Meyer, Kinst. Lex., iii. 63 ; Rio, 479; 
Dohme, 2iii.; Burckhardt, 630; Marchesi, 
i Li 

BARTOLOMMEO DELLA GATTA. See 
Gatta. 

BARTOLOMMEO DI MANFREDI. See 
Bartolo di Fredi. 

BARTOLOMMEO DA MURANO. See 
Vivarini, Bartolommeo. 

BARZAGHI- CATTANEO, ANTONIO, 
born at Lugano, Ticino, in 1835. History, 
genre, and portrait painter; pupil of the 


Milan Academy, but took chiefly the Venetian 
masters for his models ; painted at first por- 
traits and genre scenes with small figures, 
and was gradually led to monumental and 
fresco painting, in which he has achieved his 
greatest success. Works: Beatrice Cenci 
(1861) ; Tasso, Basle Museum ; Republicans 
in Florence Overthrowing Statues of the Med- 
ici, Diana of Poitiers (1870); Page (1873); 
Musing Girl (1873) ; Old and New Corre- 
spondence (1873); in fresco: Moses as Law- 
giver, Sermon on the Mount (1874, Church 
at Horgen, Lake of Ziirich).—Meyer, Kiinst. 
Lex., ii. 87; Miller, 29. 

BASAITI, MARCO, born about 1450, died 
after 1520. Venetian school. Born in Venice 
of Greek parents, according to Vasari, but 
according to others a native of Friuli. He 
laboured in Venice between 1490 and 1520, 
and was probably a scholar and assistant of 
Luigi Vivarini, though he differed much from 
him. After the death of Luigi (1503), he 
finished his Apotheosis of St. Ambrose in the 
Frari, Venice, without improving it essen- 
tially. Later he was an assistant of Giovanni 
Bellini, whose peculiarities he adopted after 
1510. Still later he imitated Palma, but 
without his richness of colour, and in 1520 
Carpaccio. Charles Blanc calls him a worthy 
rival of Giovanni Bellini and of Carpaccio ; 
but Crowe and Cavalcaselle think his work 
only a superficial imitation, without ‘the 
pure ring of the choicest metal.” His pict- 
ures are in many galleries. Among his best 
are the Calling of the Apostles James and 
John (1510), Christ in the Garden (1510), 
Venice Academy ; St. George and the Dragon 
(1520), in San Pietro di Castello, Venice ; 
Assumption, 8. Pietro Martire, Murano ; Ma- 


“7 
F 1 


donna Adoring the Child, Museo Civico, Pa- 
dua; Christ Crowned with Thorns, Rovigo 
Gallery; Calling of Apostles James and John 


106 


— 
sf 


im 
_ 
gl 
PH: av ta 4 


FRA 


; 
} 
,' 
; Pa 
‘ ¢ 
i 
’ 
€ 
» 
' 
.s 
a? i 
' 
Mi 
_ 
' 
/ 


2 


eS . 
W Lf 
SS 


; 
& 
he | 
z 
=< 
= 
4 
z 
> 


Ye 


: why > Wher 
* ; s oe) oy 
ae “4 "A it ae 
, Ricca ‘ tex 
, , a rie Tus Mer, 
H 4 ? 2 , 
{ ie , 
a 
Ms : 
il 
3 
i 
: / 
} 
3 ’ 
#4 
ie 4 ® 5 5 
a 
’ . ? 
? - 
i 
s. 
* 
© ‘ 
. 
es » 
i 
*, 
, 
‘ 
7 
ee 
. . 
‘ \ 
“ s 
fi Y 
, é 


BASILETTI 


(1515), Vienna Museum; Pieta, Altar in Four 
Panels, St. Sebastian, Berlin Museum ; St. 
Jerome Reading, National Gallery, London. 
—C. & C., N. Italy, i. 259; Meyer, Kiinst. 
Lex., iii, 88; Ch. Blanc, Ecole vénitienne ; 
Vasari, ed. Mil., i111. 646 ; Lermolieff, 14, 399; 
Liibke, Gesch. ital. Mal., i. 550. 
BASILETTI, LUIGI, born at Brescia, Italy, 
in 1780, died in 1860. History and landscape 
painter, pupil of Santo Cattaneo, then 
studied in Bologna and in Rome, where he 
painted Canova’s portrait. Works: Guard- 
ian Angel with Boy, Duomo nuovo, Brescia ; 
Death of the Niobeds, Temple of Sibyl at 
Tivoli, Isle of Ischia, and others, Tosi Gal- 
lery, ib.; Falls of Tivoli, Brera, Milan.— 
Fenaroli, Artisti Bresciani; Meyer, Kinst. 
Lex., ii. 98. : 
BASSANO, FRANCESCO, born at Bas- 
sano in 1550, 
died in Venice, 
July 4, 1591. Ve- 
netian school; 
real name Fran- 
cesco da Ponte ; 
eldest son and 
pupil of Jacopo 
‘Bassano. Estab- ? . ~ 
lished himself at — Wey 
Venice; em- ( » 
ployed in decor- \ (Ne | 
ating the Palazzo 
Ducale, where he painted the Siege of Padua 
and five other pictures. He also executed for 
churches large works which were deserved- 
ly admired. Became melancholy and killed 
himself by jumping from a window. Works: 
Ascension, S. Luigi de’ Francesi, Rome ; 
Fish Market, Louvre; Flight into Egypt 
and Adoration of Magi, Duomo, Padua; 
Martyrdom of St. Catherine, Palazzo Pitti, 
Florence ; Rape of Sabines, Turin Gallery ; 
Adoration of Shepherds and Christ Clearing 
Temple, Dresden Museum ; Christ at Beth- 
any, Cassel Gallery ; Adoration of Magi, Last 
Supper, Madrid Museum.—Ch. Blanc, Ecole 
vénitienne ; Burckhardt, 750; Wornum, 
Epochs, 259. 


BASSANO, JACOPO, called the elder, 
born at Bassano, 1510, died there, Feb. 13, 
1592. Venetian 
school ; real name 
Jacopo da Ponte; 
son and ‘pupil of 


( 
Francesco da Z 
Ponte the elder ; | EZ 7 DAN 
afterward pupil ¢“¢¢ LAG We 
arn \ Ke 
of Bonifazio Ve- A A WS 
neziano, and lat- — Oo i 
° ° . ire 
er, it is said, of .s¢ 


Titian. Bassano Ly 


was perhaps the earliest of Italian genre 
painters. He excelled in painting landscape 
and animals, and chose his subjects from 
Scripture scenes in which they could suit- 
ably be introduced. He also painted mar- 
ket scenes, farmyards, and other agricul- 
tural subjects, as well as historical pict- 
ures, altarpieces, and portraits. He had 
four sons and many scholars who worked 
with him in his studio, and enabled him 
to multiply his pictures. Among his best 
works are: Entombment of Christ (1574), 
S. Maria in Vanzo, Padua ; Adoration of the 
Shepherds, Louvre ; Nativity, S. Giuseppe, 
and Baptism of St. Lucilla, S. Valentino, 
Bassano; Return of Jacob to Canaan, Pa- 
lazzo Ducale, Venice ; St. Roch Interceding 
for the Plague-Stricken, S. Rocco, Piacenza ; 
Raising of Lazarus, Naples Museum; Moses 
and the Burning Bush, and Bassano’s Fam- 
ily, Uffizi, Florence ; Christ Clearing the 
Temple (replica in National Gallery, Lon- 
don), Animals Entering Ark, Noah Leaving 
Ark, Madrid Museum ; Good Samaritan, 
National Gallery, London.—Ch. Blane, Ecole 
vénitienne ; Vasari, ed. Le Mon., xi. 42 ; 
Seguier, 153, 713 ; Burckhardt, 750. 
BASSANO, LEANDRO, Cavaliere, born 
at Bassano in 1558, died in Venice in 1623. 
Venetian school; real name Leandro da 
Ponte, third son and pupil of Jacopo Bas- 
sano. Painted for some time in his father’s 
style, but some of his portraits having brought 
him fame at Venice, he confined himself 
afterward almost entirely to portraiture. 


107 


BASSEN 


Of his historical works the Resurrection of | Meyer, Kinst. Lex., ii. 107; Ridolfi, Marav., 


Lazarus, Adoration of the Shepherds, Prayer 
of Jesus in the Gar- 
den, and the Incre- 
dulity of St. Thom- 
as, are in the Venice 
Academy, and the 
Birth of the Virgin, 
in S. Sophia, Venice. 
In the Madrid Mu- 
seum are the Prodi- 
gal Son, Assump- 
tion of the Virgin, 
and the Forge of 
Vulcan. He was knighted by the Doge 
Grimani, whose portrait he painted.—Ch. 
Blane, Ecole vénitienne. 

BASSEN, BARTHOLOMEUS VAN, died 
at The Hague, buried Nov. 28, 1652. Dutch 
school ; architecture painter. Entered Guild 
of St. Luke at Delft, Oct. 21, 1613, and 
that at The Hague in 1622. The figures in 
his pictures were often painted by Frans 
Franken, the younger, whence it is probable 
that he temporarily lived and perhaps also 
studied at Antwerp. Visited England, then 
returned to Hague, and from 1639 to 1650 
held post of city architect. Works: Church 
Interior (1624), Berlin Museum ; do. (1626), 
Hague Museum; St. Peter’s Square in 
Rome (1623), Copenhagen Gallery; others 
in Hanover (1624), Gottingen (1625), Stutt- 


2 “Van ‘Dea 


gart, Prague, and Pesth Galleries.—Meyer, 
Kinst. Lex., iii. 105 ; De Stuers, 9. 
BASSETTI, MARCANTONIO, born in 
Verona in 1588, died there in 1630. Vene- 
tian school ; pupil of Felice Brusasorci ; then 
studied in Venice, chiefly copying Tinto- 
retto, and later in Rome. After his return 
to Verona, he was counted among the best 
artists of his time and much employed in 
painting altarpieces for churches. Works: 
Martyrdom of St. Vitus, Munich Gallery.— 


ii, 477. 

BASSIN, PETER VASSILIEVICH, born 
in St. Petersburg, June 25 (July 7), 1793, 
died there, July 4 (16), 1877. History and 
portrait painter, pupil of St. Petersburg 
Academy ; went in 1819 to Rome, where he 
lived five years, and remained abroad six 
years longer. After his return he became 
member of the Academy, and shortly after- 
wards professor. Works: Christ Driving 
the Money Changers from the Temple, 
Marsyas Teaching Olympus to play the 
Flute, Academy, St. Petersburg; Elopement, 
La Lavandara di Frascati, Bacchanal, Su- 
sanna at the Bath, Earthquake on Monte 
Cavo, Socrates Saving Alcibiades in Battle of 
Potidzea, Scene from Life of a Robber, Her- 
mitage, ib.; Coming of the Holy Ghost, four 
scenes from Life of Mary and Jesus, Resur- 
rection, Winter Palace, ib.; Virgin and 
Saints, Twelve Apostles, Four Evangelists, 
Betrayal of Judas, Christ before Pilate, 
Flagellation, Bearing the Cross, Ascension 
of Mary, Four Saints, Martyrdom of St. 
Catherine, Martyrdom of St. Demetrius, St. 
George before Diocletian, Christ Appearing 
to Barbara, Isaac Church, ib.; God of Saba- 
oth and Angels, Fight of Alexander Nevski 
against the Swedes, Prayer of Alexander 
Nevski, Death of Alexander Nevski, Trans- 
portation of his Relics, Sermon on the 
Mount, Chapel of Alexander Nevski, ib.; 
Mary Entering the Temple, Annunciation, 
Peter and Paul, Archangel Michael, Simeon, 
Rest in Egypt, Moscow Museum.—Meyer, 
Kiinst. Lex., ui. 10. 

BASTARUOLO, IL. See Mazzuoli, Giu- 
seppe. 

BASTIANI (Sebastiani), LAZZARO, born 
about 1450, died after 1508. Venetian 
school ; commonly called a pupil of Carpac- 
cio, but dates contradict it. He was bred, 
probably, in the Paduan school, where he 
acquired the disagreeable features without 
the redeeming qualities of Mantegna ; but 
in Venice he learned to imitate Luigi Viva- 
rini, without wholly losing the impress of 


108 


BASTIANINO 


his early education. He failed to rise to 
the level of Carpaccio, and never attained 
superior distinction, yet he held an honour- 
able position in his guild in Venice. Among 
his works are: Madonna with Saints and 
Donor in the lunette of a side door of the 
S. M. e Donato, Murano, signed and dated 
1484; Coronation of the Virgin, Lochis 
Carrara Gallery, Bergamo ; Entombment, 
S. Antonio, Venice ; the Gift of the Relic 
and the Miracle of the Holy Cross, Venice 
Academy; Annunciation, Correr Museum, 
Venice; Glorification of St. Veneranda, 
Vienna Academy.—C. & C., N. Italy, i. 215 ; 
Ch. Blanc, Ecole vénitienne ; Vasari, ed. Le 
Mon., vi. 86, 97, 98 ; Meyer, Kiinst. Lex., iii. 
113: 

BASTIANINO, IL. See Filippi, Sebasti- 
ano. 

BASTIEN-LEPAGE, JULES, born at 
Damvillers, Meuse, 
Nov. 1, 1848, died in 
Paris, Dec. 10, 1884. 
History and portrait 
painter, pupil of Caba- 
nel. Medals: 3d class, 
1874 ; 2d class, 1875 ; 
3d class, 1878; L. 
of Honour, 1879. 
Works: Song of 
Spring, Portrait of 
my Grandfather 
(1874); Communicant 
(1875); Adoration of Shepherds, Portrait of 
M. Wallon (1876) ; Portrait of my Parents, 
do. of André Theuriet (1877) ; Hay Harvest 
(1878) ; Portrait of Sarah Bernhardt (1879) ; 
Potato Harvest (1879) ; Joan of Arc, Erwin 
Davis, New York; Village Love, Ripe Grain, 
October (1883) ; The Forge (1884), Albert 
Wolff.—Montrosier, Artistes modernes, iii. ; 
Meyer, Kiinst. Lex., iii. 116; Miiller, 29 ; 
Kunst-Chronik, xx. 285. 

BATES, DEWEY, born in Philadelphia, 
Pa., in 1851. Genre and portrait painter ; 
studied at Royal Academy, Antwerp, and at 
Ecole des Beaux Arts, Paris, under Géréme. 
Studio in Philadelphia ; was in London in 


1883. Works: Little Jannetje, Dutch Com- 
fort (1875). 

BATH, AFTER THE, Jean Léon Géréme, 
Wn. Astor, New York ; canvas, H. 3 ft. x 2 
ft. A female figure, nude, sitting, back to the 
spectator, at the edge of the bath, in the 
water of which her form is reflected, with a 
narghileh beside her ; another figure, partly 
draped, sitting at left, and two others in 
background. Photogravure in Art Treas- 
ures of America, ii. 71. 

BATH, YOUNG ROMAN’S, Charles 
Gleyre, Charles S. Smith, New York ; canvas, 
H. 3 ft. x 2ft. A beautiful female slave, 
partly draped, lifts a babe into an alabaster 
font, in a Roman impluvium, on the opposite 
side of which, nearly in profile, stands a nude 
maiden, resting her hands on the rim of the 
basin, and contemplating the young Roman 
with admiration. Photogravure in Art 
Treasures of America, ii. 88. 

BATHSHEBA AT THE BATH, Francia 
Bigio, Dresden Gallery ; wood, H. 2 ft. 8 in. 
x 5 ft. 7in.; signed, dated 1523. David sees 
Bathsheba in the bath, while Uriah sleeps 
on the balcony of his house; on the other 
side, the sending of Uriah with the letter.— 
Cat. Dresden Gal. 

Subject treated also by Rembrandt, 
Steengracht Collection, Hague; Cornelis 
van Haarlem, Berlin Museum; Jan Frans 
van Douven, Cassel Gallery ; Bernardo 
Strozzi, Dresden Gallery; Carlo Maratti, 
Leichtenstein Gallery, Vienna. 

BATTAGLIA, DIONISIO, flourished in 
Verona about 1547. Probably pupil of 
Francesco Torbido, to whose style his pict- 
ures bear so close a resemblance that they 
have often been mistaken for them.—Meyer, 
Kiinst. Lex., ii. 123; Bernasconi, Studj., 
301. 

BATTEM, GERARD VAN, second half 
of 17th century. Dutch school; landscape 
painter ; apparently took Ph. Wouwerman 
for his model ; said to have lived at Rotter- 
dam. Works: Hilly Landscape with Fig- 
ures, Meiningen Gallery ; do., Schleissheim 
Gallery.—Meyer, Kiinst. Lex., iii. 125, 


109 


BATTISTA 


BATTISTA DA SAN DANIELE. See 
Pellegrino. 

BATTLE, Salvator Rosa, Louvre ; canvas, 
H. 7 ft. 2 in. x11 ft. 6in.; signed. A hand- 
to-hand conflict of horse and foot, near a 
ruined temple on right; on left, massive 
rocks and burning vessels. Painted in 1652, 
in forty days, by order of Monsignor Cor- 
sini, Papal Nuncio,. who presented it to 
Louis XIV.—Villot, Cat. Louvre. 
BATTONI (Batoni), POMPEO GIRO- 

(XESS LAMO, Cavali- 
ere, born at Luc- 
ca, Feb. 5, 1708, 
died in Rome, 
Feb. 4, 1787. 
Roman _ school ; 
pupil at Lucca 
of Domenico 
Brugieri and of 
Gio. Domenico 
\ Lombardi; went 
early to Rome, where he studied under 
Conca, Masucci, and Imperiali; soon won 
reputation and divided with Raphael Nunzo 
the honour of being called the first painter 
of his time ; but his conceptions were supe- 
rior to his power of realization, and his 
works are mannered and shallow. Painted 
historical pieces and miniatures ; but most 
noted for his portraits, numbering among 
his sitters Popes Benedict IV., Clement XI, 
and Pius VI., the Emperors Joseph I. and 
Leopold IL, and many other celebrated per- 
sonages. Among his works are: Marriage 
of St. Catherine, Quirinal, Rome; Birth of 
Christ, Palazzo Corsini, Rome; Achilles, 
Uffizi, Florence; Madonna Enthroned, Brera, 
Milan; Choice of Hercules, Aineas with 
Anchises, Return of Prodigal Son, Turin 
Gallery ; Madonna, Louvre, Paris ; St. John 
the Baptist, Magdalen. The Fine Arts, Dres- 


PONPED -Batoni- 274317 56-Romae 


den Gallery ; Portrait of Elector Karl Theo- 
dor (1775), Pinakothek, Munich ; Marriage 
of Cupid and Psyche (1756), Berlin Museum ; 


Return of Prodigal Son (1773), Vienna 
Museum.—Lanzi, i. 529; Ch. Blanc, Ecole 
romaine; Meyer, Kunst. Lex., 111. 119. 


BAUCK, JEANNA, born in Stockholm, 


Sweden, Aug. 18, 1840. Landscape painter, 
pupil in Dresden (1868) in figure painting 
of Professor Ehrhardt; then in Diisseldorf 
in landscape painting of Albert Flamm. In 


1866 she settled in Munich, where she stud- 


ied under Karl Ludwig, Langko, and Jos. 
Brandt. Visited Tyrol, Switzerland, and Ven- 
ice almost yearly ; lived in Paris in 1879-80, 


and then in Munich, where she has a school 


of painting for young ladies. Paints chiefly 


gloomy forests with dark waters, ruins, 
and trees, with great breadth and boldness. 


Medal, 1878. Works: Village Street with 


Gipsy Band (1878); St. John’s Eve (1880).— 


Meyer, Kiinst. Lex., iii. 128 ; Miller, 29. 


BAUDIT, AMEDEE, born in Geneva, 
Switzerland, in 1829. Landscape painter, 
pupil of Francois Diday; studio in Bordeaux. 
Medals: Paris, 1859, 1861; Geneva, 1861; 
Toulouse, 1866; Rochelle, 1866. Works: 
Shores of Lake of Geneva, Dent du Midi 
(1861); Coast near Terre-Négre (1866); View 
near Cannes (1867); Souvenir of Dieppe, 
Les Landes (1867) ; Storm (1868) ; Heath of 
Begaar, Rainy Day at Biscarosse, Pasture in 
the Landes (1875) ; Before the Storm (1883). 
—Meyer, Kiinst. Lex., 11, 132. ) 

BAUDOIN, PAUL ALBERT, born at 
Rouen ; contemporary. Genre painter, pu- 
pil of Gleyre, Delaunay, and Puvis de Cha- 
vannes. Medal, 3d_ class, 1882. Works: 
History of Wheat (1882), frieze for Ecole 
Dombasle, Paris; View of St. Pons—Hé- 
rault, Mulberries of Port Junenal—Herault 
(1883) ; April Morning in Normandy (1884) ; 
Betrothal (1885). 

BAUDOIN, PIERRE ANTOINH, born in 
Paris, Oct. 17, 1723, died Dec. 15, 1769. 
Genre painter, pupil of Boucher, whose 
daughter he married ; Member of Academy 
in 1763. Fond of painting erotic subjects. 
Works : Confessional, Fille éconduite, Cueil- 
leur de Cerises, Petite Idylle galante, Le 
Lever, Fille querellée, Force du Sang (1766, © 


110 


Pee eee 


Fee e ie 


+. 
& 
; 
‘ 


BAUDRY 


Salon of 1767); Le Coucher de la Mariée, 
Sentiment de L’Amour, Chaumiére, Eight 
Miniatures with Life of the Virgin (1767) ; 
Modéle honnéte, Diana and Actzon ; Epouse 
indiscrete, Sentinelle en défaut, Enlévement, 
Jardiniére gallant, Chemin de la Fortune, 
Rose and Colas (1769).—Ch. Blanc, Ecole 
francaise ; Goncourt, ii. 520; Meyer, Kiinst. 
Lex., iii. 1382 ; Wurzbach, Mal. d. xvii. J., 
34. 

BAUDRY, PAUL baa AIMEE), 
born at La Roche- 
sur-Yon, Vendée, 
Nov. 7, 1828. His- 
tory and portrait 
painter, pupil at 
La Roche of Sar- 
toris and in Paris 
of Drolling. Won 
the grand prix 
de Rome in 1850 
by his Zenobia. 
Discovered on the 
Banks of the Ar- 
axes. Exhibited first in Salon in 1857. Med- 
als: 1st class, 1857, 1861, 1881; L. of Honour, 
1861 ; Officer, 1869; Commander, 1875 ; 
Member of Institute, 1870. He has executed 
important decorative works, the most cele- 
brated being those in the foyer of the New 
Opera House in Paris (1866-74). Has also 
painted many portraits. Works: St. John, 
Fortune and the Child (1857), Luxembourg 
Museum ; Execution of a Vestal (1857), Lille 
Museum; Leda (1857) ; Penitent Magdalen, 
Toilet of Venus, Guillemette (1859) ; Char- 
lotte Corday (1861), Nantes Museum ; Am- 
phitrite (1861); Pearl and Wave (1863) 
Diana (1865) ; Glorification of Law (1881) ; 
Truth (1882). Among his portraits are: 
Guizot (1861) ; Charles Garnier (1869) ; Ed- 
mond About (1872); Gen. de Montauban 
(1877).—Larousse ; Meyer, Gesch., 595; do., 
Kiinst. Lex., ii. 137. 

BAUERLE, KARL (WILHELM FRIED- 
RICH), born at Endersbach, Wiirtemberg, 


June 5, 1831. Genre and portrait painter ; 


came to America in 1836, returned to Ger- 


many in 1859, and became pupil of the art 
school in Stuttgart under Rustige. In 1863 
he studied in Munich under Piloty, and in 
1864 went to Italy. After his return he ac- 
quired great reputation at Stuttgart by his 
portraits ; went in 1869 to England, where he 
painted several members of the royal family 
and of the aristocracy. Works: Portraits of 
Prince and Princess of Hohenlohe-Langen- 
burg, Group of their Children, Prince 
Arthur, Children of Prince of Wales; The 
Orphans (1867), Stuttgart Gallery ; Female 
Letter Carrier, Little Barefoot, Spring, The 
Nursery, Attempts at Art. —Meyer, Kiinst. 
Lex., 11. 143; Miller, 30. 

BAUGIN, “LUBIN, born at Pithiviers, 
Loiret, France, about 1610, died in Paris, 
July 11, 1663. History painter, imitator of 
Guido Reni, whence called Little Guido. 
Works: Holy Family, Louvre; Madonna, 
Nancy Museum ; Holy Family, Dijon Muse- 
um; Martyrdom of St. Bartholomew, Rouen 
Museum; Magdalen Consoled by Angels, 
Gregory the Great, Orléans Museum; St. 
Sebastian, S. Sépulchre; Adoration of Angels, 
St. Lazare; six pictures in Notre Dame, Paris. 
—Meyer, Kiinst. Lex., ii. 145. 

BAUGNIET, CHARLES, born in Brussels 
in 1814. Genre and portrait painter, pupil 
of J. Paelinck and M. F. Willems. Lives at 
Sevres. First became known by a collection 
of three hundred lithographed portraits of 
distinguished persons. After spending sev- 
eral years in England, settled in Paris and 
devoted himself to painting. Member of 
Ghent Academy in 1836. Appointed de- 
signer to the King of Belgium, 1841; Order 


-|of Leopold, 1843, Officer 1872 ; Order of 


Isabel Catholic of Spain; of Branche-Ern- 
stein of Saxony; of Christ of Portugal. 
Works: Sister of Charity, Repentance, First- 
Born, Sailor’s Return, Beau Telling a Story, 
The Eldest Daughter (1863) ; Elder Sister’s 
Return (1864); Visiting the Widow, Trou- 
bled Conscience (1865), Godmother’s Visit 
(1866) ; Departure of the Bride (1869); Em- 
barrassing Answer, Godmother, Good Ad- 
venture (1870); Burning of Chicago (1871); 


111 


BAUMANN 


Old Arm-Chair, My Little Nephew (1876) ; 
Blind Man’s Buff, Mrs. A. T. Stewart, New 
York ; First Heart Trouble (1878) ; Fourth 
of July, 1876 ; Autumn (1879); Washington’s 
Birthday (1881); Cottage Hospitality (1882). 
Other works owned in United States : Curi- 
osity, James H. Stebbins, New York; Em- 
barrassing Answer, Dead Canary, Dressing 
the Bride, T. R. Butler, New York; Lady’s 
Night Toilet, Mrs. Paran Stevens, New York; 
His Picture, W. Mason, Taunton, Mass.; After 
the Ball, Hurlbut Collection, Cleveland : 
Autumn, S.A. Coale, St. Louis ; Art Studies, 
C. Crocker, San Francisco ; Interesting the 
Convalescent, W. B. Bement, Philadelphia ; 
Toilet of the Bride, Departure of the Bride, 
E. D. Morgan Collection, New York ; Letter 
of Recommendation, Lost Illusions, R. I. 
Stuart Collection, New York ; Autumn, C. P. 
Huntington, New York ; Feeding the Snow 
Birds, C. 8S. Smith, New York ; Toilet of the 
Bride, J. Hoey, New York; Good Fortune, W. 
H. Vanderbilt, New York; Spring Time, Wm. 
Astor, New York.—Vapereau (1880), 150. 

BAUMANN, (ADOLF) CHRISTIAN, born 
in Munich in 1829, died there in 1865. 
History painter, pupil of Munich Academy 
in 1844-48, under Schraudolph, whom he 
also assisted in his works at the Speyer 
cathedral. After three years spent in Italy 
he returned home and executed a series of 
works in fresco, in the style of H. Hess and 
Schraudolph. Two Madonnas, New Pina- 
kothek, Munich; four fresco paintings, Na- 
tional Museum, Munich ; two in Arcades of 
S. Cemetery, ib.; Crucifixion, I. Sarthor, ib. 
—Allgem. d. Biogr., ii. 152 ; Meyer, Kiinst. 
Lex., iii. 148. 

BAUMANN, JOHANN HEINRICH, born 
at Mitau, Feb. 10, 1753, died at Neu-Jung- 
fernhof, near Riga, July 7, 1832. Animal 
painter, pupil at Erfurt of J.S. Beck ; after 
his return home lived mostly in Curland 
and Livland, and in 1790 became member 
of St. Petersburg Academy ; painted 1,713 
pictures, chiefly hunting scenes, highly es- 
teemed by sportsmen.—Meyer, Kinst. Lex., 
lil, 147, 


BAUMEISTER, FRANZ KARL, born at 
Zwiefalten, Wirtemberg, Jan. 24, 1840. 
History painter, pupil of the Munich Acad- 
emy from 1855 under Hiltensperger and 
Anschitz, and in 1859-65 under Philipp 
Foltz. Works: Christ with Virgin and 
Saints (1863) ; Holy Women at the Grave 
(1866) ; Eleven Cartoons of Life of St. Wal- 
bert (1869-70); Baptism of Christ (1872) ; 
St. Andrew, Immaculata (1872); St. Ann 
(1873) ; St. Theobald, St. Maurice, Assump- 
tion, St. Bartholomew ; Foundation of Soci- 
ety of Jesus, St. Catherine.—Meyer, Kiinst. 
Lex., iii. 149 ; Miller, 31. . 

BAUMGARTNER, PETER, born in Mu- 
nich, May 24, 1834. Genre painter, pupil 
from 1850 of the Munich Academy, then in 
1857-61 of Piloty. His pictures of Bava- 
rian life are humorous and characteristic. 
Works: Seven Suabians, Don Quixote’s 
Declaration of Love, Interrupted Dinner 
(1861) ; Invalid Asylum, Auction ata Paint- 
er’s, On the Way to School (1864); The 
Answered Prayer for Rain (1866); At the 
Stand, Scene in Photographer’s Studio, Ex- 
amination at the Parson’s, Forenoon in the 
Parson’s Kitchen, The Arrival. — Meyer, 
Kiinst. Lex., iii. 151 ; Miiller, 31. 

BAUR, ALBERT, born at Aachen, July 
13, 1835. History painter, pupil of Diissel- 
dorf Academy under Karl Sohn, then of Jos. 
Kehren, and later of Schwind in Munich. 
Settled in Diisseldorf in 1861. After visit- 
ing Paris, Holland, and Italy, was professor 
at the Weimar Art School in 1871-76 ; 
then returned to Diisseldorf. Works: The 
Body of Otto III. Conveyed over the Alps 
(1866) ; Christian Martyrs (1870), Diissel- 
dorf Gallery ; Otto I. and the Body of his 
Brother Thankmar [1874] ; Paul Preaching 
in Rome (1876); Amazons Bear-Hunting 
(1876) ; Young Poet and Girl (1876) ; Seal- 
ing Christ’s Sepulchre after Entombment 
(1879), J. D. Lankenau, Philadelphia.— 
Meyer, Kiinst. Lex., iii. 156 ; Miller, 31; 
Illustr. Zeitg. (1872), i. 231 ; Kiinst-Chronik, 
1. 133, ii. 37, iv. 190, vii. 488, xii 83; 
Zeitschr. f. b. K., vi. 144. 


112 


BAUR 


BAUR, NICOLAAS, born at Harlingen, 
Sept. 23, 1767, died there, March 28, 1820. 
Dutch school; marine painter, son and 
pupil of J. A. Baur, a portrait painter; at 
first painted landscapes and city views.— 
Meyer, Kiinst. Lex., 111. 156. 

BAVON, ST., CONVERSION OF, Rubens, 
National Gallery, London ; wood, H. 3 ft. 5 
in. X 5ft.5in. The Saint, about to enter 
the monastic life, is met on the steps of the 


church of his convent by St. Arnaud, Bishop 


of Maestricht. Formerly in Palazzo Carezza, 
Genoa; bequeathed in 1831 to National 
Gallery by Rev. W. H. Carr.—Cat. Nat. Gal.; 
Smith, ii. 256. 

BAVON, ST., DISTRIBUTING ALMS, 
Rubens, Ghent Cathedral ; canvas, H. 16 ft. 
x9 ft. The Saint, standing beside a flight 
of steps, is attended by two servants with 
bowls of money ; before him are two women, 
one with two infants, kneeling, and behind 
them a mendicant ;.on opposite side, three 
ladies looking on; in second distance, the 
Saint, followed by a page and another per- 
son, is ascending a flight of steps to a 
church, at the door of which two bishops 
and several monks await his arrival. One 
of Rubens’s best works, but greatly injured 
by restoration. Engraved by F. Pilsen.— 
Smith, ii. 36 ; Beechey, Reynolds’s Works, 
ii. 142. 

BAXTER, CHARLES, born in London, 
March, 1809. Genre and portrait painter, 
pupil of G. Clint in painting portraits and 
miniatures, in which he was quite success- 
ful ; later, devoted himself to rustic and 
ideal subjects; first exhibited at Royal Acad- 
emy in 1834. Elected in 1842 member of 
Society of British Artists. Works: Olivia 
and Sophia (1852) ; Lucy Locket, Bacchante 
(1853) ; La Pensée (1854) ; The Lily (1856) ; 
Heartsease, Dream of Love (1857) ; Little 
Red Riding Hood (1859); Little Galway 
Girl (1861); Colleen Bawn, Olivia (1862) ; 
The Ballad (1863); Love me, Love my 
Dog; Peasants at Chioggia (1869).—Art 
Journal (1864), 145 ; Meyer, Kiinst. Lex., 
iil. 168. 


BAYARD, EMILE ANTOINE, born at 
La Ferté-sous-Jouarre (Seine-et-Marne,) 
Nov. 2, 1837. Genre painter, pupil of L. 
Cogniet, At first exhibited only charcoal 
drawings, for which he is distinguished, but 
since 1870 has painted some very characteris- 
tic military scenes. LL. of Honour, 1870. 
Works: Narrow Pass, During the Siege - 
(1874) ; Day after Waterloo (1875) ; Coun- 
try Concert-House, Market in the 18th Cen- 
tury, Women Bathing, Skating (1877); 
Morning of a Début (1879) ; two decorative 
panels (1882); Affair of Honour, Qui trop 
embrasse (1884); Bande joyeuse (1885).— 
Gaz. des B. Arts (1872), i. 328; Meyer, 
Kiinst. Lex., iu. 168. 

BAYER, AUGUST VON, born at Ror- 
schach, on Lake Constance, May 3, 1803, 
died in Carlsruhe, Feb. 2, 1875. Architect- 
ure painter; studied architecture in Carls- 
ruhe under Weinbrenner, and in Paris be- 
fore 1828, when he took up painting, first 
in Munich, then in Carlsruhe. His subjects 
were the great monumental buildings of 
the Middle Ages, interiors of churches, 
halls, etc. Baden court painter. Works: 
Interior of Franciscan Church at Salzburg, 
Cloister of Stiftskirche at Berchtesgaden, 
Convent-hall with Monk, New Pinakothek, 
Munich ; Interior of Church of our Lady in 
Munich, Cathedral in Chur, Maulbronn 
Monastery, Death of St. Bruno, Organ Play- 
er, Strasburg Cathedral.—Allgem. d. Biogr., 
ii. 186 ; Meyer, Kiinst. Lex., i. 169; Brock- 
haus, 1. 616. 

BAYEU Y SUBIAS, Don FRANCISCO, 
born at Saragossa, March 9, 1734, died in 
Madrid, Aug. 4, 1795. History painter, 
pupil at Saragossa of Jose Luzan Martinez, 
then in Madrid of 8. Fernando Academy 
under Antonio Gonzalez Velasquez ; returned 
to Saragossa, but on the suggestion of 
Mengs, court painter to Charles IL, was 
called to Madrid to assist in the decoration 
of the new Palacio Real, and so decidedly 
adhered to the style of Mengs that he may 
be reckoned as of his school. By contempo- 
raries considered the foremost Spanish paint- 


113 


BAYKOFF 


er during the second, half of the 18th cen- 
tury. Court painter ; honorary member of 
S. Fernando Academy in 1765, director in 
1788. Works: Twenty-five religious, myth- 
ological, and allegorical paintings in Mu- 
seo del Prado, Madrid. Frescos: Fall of 
the Giants, Apotheosis of Hercules, Con- 
quest of Granada, ete., Palacio Real, ib.; 
Religious Subjects, Chapel-Royal, Aranjuez ; 
Life of St. Eugenius, Toledo Cathedral ; 
many in the cathedral and other churches 
at Saragossa. His brother and pupil, Don 
Ramon, born at Saragossa in 1746, died at 
Aranjuez, March 1, 1793, assisted him in 
many of his works, especially the frescos at 
Saragossa Cathedral.— Bermudez ; Madrazo, 
353 ; Stirling, iii, 1257. 

BAYKOFF, FEODOR, died at Tiflis, 
Russian Transcaucasia, in 1877. Landscape 
and genre painter, pupil of St. Petersburg 
Academy ; travelled in the Caucasus in 1846 
and afterwards in southern Russia. Works: 
Circassian Caravan (187 3); paintings in 
cathedral and theatre at Tiflis.—Meyer, 
Kiinst. Lex., iii. 171. 

BAZIN, CHARLES LOUIS, born in 
Paris, April 3, 1802, died there, Jan., 1859. 
History, genre, and portrait painter, pupil 
of Girodet-Trioson, and of Gérard. Med- 
als: 3d class, 1844; 2d class, 1846. Works: 
Peter the Great in France (1842); Christ 
on Cross (1843); Louis XIV. and Mme. 
de Maintenon (1844); Tribute Money (1845); 
Girl with a Lizard (1846); Ecce Homo 
(1849); Dissolution of Parliament by Louis 
XTV. (1853).—Gaz. des B. Arts (1859), iv. 
308. 

BAZZACCO (Bozzacco, Bozzato), born 
about 1500, died about 1570. Venetian 
school. Proper name Giovan Battista Pon- 
chino. A native of Castelfranco, whence 
sometimes called Bazacco da Castelfranco. 
Vasari, who calls him Brazacco, says he had 
charge of the decorations of the grand hall 
of the Council of Ten in the Palazzo Ducale, 
Venice (after 1552), and that his associates 
were Battista Zelotti and Paolo Veronese. 
‘The Neptune on his Chariot, the Mercury, 


and the Venice, with broken chains in her 
hands, looking to Heaven, are among the 
frescos there attributed tohim. Blanc says 
that his work does not pale beside that of his 
brilliant coadjutors. Hig picture of Christ 
in Limbo (1552), S. Liberale, Castelfranco, is 
superior to any other work of art in that city, 
save the pictures of Giorgione. Bazacco, 
after the death of his wife, became an eccle- 
siastic with the title of Monsignore.—Ch. 
Blane, Ecole vénitienne ; Vasari, ed. Mil, 
vi. 594, 595 ; Meyer, Kiinst. Lex., iii. 176. 

BAZZANI, GIUSEPPE, born in Mantua, 
about 1690, died there, Aug. 17, 1769. 
Pupil of Giovanni Canti, of Parma, but 
formed himself by studies after Mantegna, 
Paolo Veronese, and especially Rubens, 
whom he took for his model, and soon sur- 
passed his early master. Painted many 
altarpieces and frescos for churches in Man- 
tua; one of the best is the Dream of St. 
Romualdo, in 8, Barnaba.—Meyer, Kinst, 
Dex.; nL Ate . 

BAZZI, GIOVANNANTONIO. See So- 
doma. 

BEALE, MARY, born in Suffolk in 1632, 
died in London, Dee. 28, 1697. Daughter 
of Rev. Mr. Cradock, of Walton-on-Thames ; 
married Mr. Beale, a painter and colour 
maker. Pupil of Sir Peter Lely, who ob- 
tained for her permission to copy many of 
Van Dyck’s finest works. Painted por- 
traits in oil, water-colour, and crayon ; was 
also reputed as a poet. Her portraits of 
Cowley, Tillotson, Duke of Norfolk and 
Charles IT. are in the National Portrait Gal- 
lery, and of Archbishop Tillotson in Lam- 
beth Palace.—Redgrave ; Meyer, Kiinst. 
Lex., i. 23%: 

BEARD, JAMES H., born in Buffalo, 
N. Y., in 1814. Animal painter. He painted 
portraits for many years in the West, Henry 
Clay and President John Quincy Adams 
being among his sitters. Exhibited Caro- 
lina Emigrants at the National Academy in 
1846. Elected N. A. in 1871. Studio in 
New York. Works: A Peep at Growing 
Danger (1871); The Widow (1872); Mutual 


114 


BEARD 


Friend (1875); Attorney and his Clients, 
Out all Night, Morning Gossip, There's 
many a Slip (1876); Consultation, Blood 
will Tell (1877); Don Quixote and Sancho 
Panza (1878); Don’t You Know Me ? (1879); 
Heirs at Law (1880); Which has Preémp- 
tion? (1881); You Can’t have this Pup 
(1882); My Easter’s all Spoilt, I don’t Be- 
lieve One Word of It (1883); Detected 
Poacher (1884). Harry Beard, son of James 
H. Beard, also paints animals. He exhib- 
ited in 1877, Group of Portraits; in 1878, 
Young Knight, Who Boke Dat, now? and 
Charles, drive me to Stewart's! and in 1881, 
Newsboy. 

BEARD, WILLIAM H., born in Paines- 
ville, Ohio, April he 
13, 1825. Animal Te 


painter ;_ visited fe y } 
Europe in 1857, GH. my 
studied one sum- (er Ss Ns 
mer in Dissel- {9 AS Ais A 
dorf,and sketched So Wee 5 ike” 
in Italy, Switzer- q bh ~ fh < 
land, and France. a KR Ry 
Elected N. A. in . fis ba “f Qs 
1862, Studio in UE Wr" LY 
het ‘ W\\\ 


New York. Works: 
Dancing Bear (1867); Naughty Cub (1869) ; 
Pets on a Spree (1871); The Wreckers 
(1874); Horse Market in Brittany (1875) ; 
Worn Out, Lo the Poor Indian, March of 
Silenus (1876); Runaway Match (1878) ; 
Justice must be Done (1879); Voices of the 
Night (1880); Spreading the Alarm (1881) ; 
In the Glen (1882); Cattle upon a Thousand 
Hills; Havesdropper (1884); Bulls and 
Bears (1885).—Sheldon, 56. 

BEATO, IL. See Angelico, Fra. 

BEAUBRUN, CHARLES, born at Am- 
boise, France, baptized Feb. 11, 1604, died 
in Paris, Jan. 16, 1692. Portrait painter, 
pupil of his uncle Louis, cousin of Henri, 
whose associate he was until the latter's 
death. He became member of the Acad- 
emy in 1651, Works: Portrait of Anne 
Marie of Burgundy (1655); Portrait of 
Marie de Medicis (1655) ; Portrait of Dau- 


phin Louis (1663), Madrid Museum.— Meyer, 
Kinst. Lex., iii. 239 ; Ch. Blanc, Ecole fran- 
caise. 

BEAUBRUN, HENRI, born at Amboise, 
Feb., 1603, died in Paris, May 17,1677. Por- 
trait painter; he entered the service of Louis 
XIIL., who took an interest in his education, 
caused him to study architecture and per- 
spective, and ultimately became his pupil. 
He was one of the first twelve members of 
the Academy, founded in 1648.—Ch. Blane, 
Ecole francaise; Meyer, Kiinst. Lex., iu, 
239. 

BEAUCE, JEAN ADOLPHE, born in 
Paris, Aug. 2, 1818, died at Boulogne-sur- 
Seine, July 13, 1875. Military, genre, and 
battle painter, pupil of C. Bazin. He accom- 
panied the army on several campaigns, and 
so painted correctly, but with little imagina- 
tion or life. Medal: 3d class, 1861; L. of 
Honour, 1864. Works: Capture of Abd-el- 
Kader’s Smala (1844); Charge of Colonel 
Morris at Isly (1845); Death of Col. Ber- 
thier in the Battle of Cerisoles (1846) ; After 
Waterloo (1847); Capture of the Bridge of 
St. Prix (1848); Bravery of the Priest of 
Pers (1852) ; Storming of Laghouat (1853) ; 
The Sharpshooters, Assault of Zaatscha 
(1857) ; Battle of Solferino (1861); Entry 
of the French into Mexico (1868) ; Defeat 
of the 16th Uhlans (1874) ; Battle of Pa-l- 
Kiao (1875).—Meyer, Kinst. Lex., iii. 240 ; 
Kunst-Chronik, ix. 645, 672; x. 561. 

BEAULIEU, ANATOLE HENRI DE, 
born in Paris in 1819, died there, June 6, 
1884. Genre painter, one of the most bril- 
liant pupils of Delacroix. Medal, 1868. — 
Works: Scene from Spanish Inquisition 
(1844); La Romance des Abencérages ; Sere- 
nade in Venice ; Bohemian Tavern in Venice, 
1560; Turkish Battery after Bombardment 
of Sinope, 1853; The Ostrich-egg (1868) ; 
The Duel (1870); Volunteers of the Loire 
Army, Woman in the Pillory in Ancient 
Stamboul, Well in Pillaged House (1874) ; 
The Adder (1875) ; The Douma (ancient 
Slavic ballad, 1877) ; Jessica (1880); Queen 
of Clubs, Pig Festival at Fest-en-Hoch (1882); 


115 


BEAUME 


Alcohol (1883) ; La Femme a I'Tbis, La Fille | (1855); Andromeda (1866); Circe (1867) ; 
aux Rats (1884).—Chronique des Arts (1884), | Leda (1868) ; Perils of Life (1855); Women 
191; Kunst-Chronik, vi. 40; ix. 671; x. 646. | Chasing Truth (1868) ; The Captain’s Share 


BEAUME, JOSEPH, born in Marseilles, 
Sept. 24, 1796, died, Sept., 1885. History 
and genre painter, pupil in Paris of Gros, 
whose classical style he at first followed ; 
later painted military and historical pictures, 
and since 1870 genre subjects. Also painted 
portraits and marine views. Medals: 2d 
class, 1824; 1st class, 1827; L. of Honour, 
1836. In 1836-43 he executed for the Ver- 
sailles Museum his principal historical works: 
Passage of Rhine at Diisseldorf; Battles of 
Diernstein, of Albreto, of Liitzen, of Bautzen, 
of Oporto, and of Toulouse; Taking of 
Halle ; Napoleon Leaving Elba. Other works: 
Eliezer and Naphtali (1819, Fontainebleau) ; 
Death of Henri H.(1822) ; The King Drinks 
(1828); Death of Grand-Dauphiness in 1690 
(1884) ; Death of Anne of Austria at Val-de- 
Grace (1835) ; Death of Charles V. (1838) ; 
Childhood of Sixtus V. (1839) ; Hagar in the 
Desert (1844) ; Going out of Church (1846); 
Van Dyck (1850) ; Marguerite (1852) ; Gali- 
leo in Prison (1853); Flight into Egypt; 
Mother of the Family (1872); Hunter’s 
Breakfast (1877) ; Sancho Panza (1878).— 
Meyer, Kiinst. Lex., iii, 243; Miiller, 32; 
Ottley. 

BEAUMETZ, ETIENNE, born in Paris: 
contemporary. History and genre painter, 
pupil of Cabanel and L. Roux. Medal: 3d 
class, 1880. Works: There they are! (1880); 
Battalion Leaving for the Frontier (1881); 
Brigade Lapasset Burning its Flags (1882); 
The Liberators !—1794 (1883); At Cham- 
pigny—Nov. 30, 1870, The Garrison Leaves 
Belfort—1871 (1884) ; The Bayonet—Cham- 
pigny, Dec. 2, 1870, Last Duty (1885). 

BEAUMONT, CHARLES EDOUARD 
DE, born at Lannion, France, in 1821. Genre 
painter, pupil of Boisselier ; first pictures, 
landscapes from neighbourhood of Cernay 
and Senlis, in Salons of 1838, 1839, and 
1840. Has illustrated several books. Medals: 
1870, 2d class, 1873; L. of Honour, 1877. 
Works ; Bohemians (1853) ; Dangers of Life 


(1868), Luxembourg; Seeking Whom He 
Shall Devour, Women are Dear (1870) ; End 
of a Song ; Where is Cupid Hiding ? (1873); 
As Stupid as a Goose, Mad Caps (1874); Nest 
of Sirens (1877); Torturers of Cupid, H. 
Probasco, Cincinnati.—Meyer, Kiinst. Lex., 
ili. 246 ; Miller, 33; Larousse. 3 

BEAUMONT, CLAUDIO FRANCESCO, 
Cavaliére, born in Turin, June 4, 1694, died 
there, July 21,1766. History painter, studied 
in Turin, then in Rome, after the works of 
Raphael, the Caracci and Guido, and under 
Trevisani; became honorary member of 
Academy of S. Luca in 1727, returned to 
Turin in 1731, and was made court. painter 
and (1736) knighted. Works in fresco: 
Princely Virtues, Four Ages of Man, Judg- 
ment of Paris, Rape of Helen, Royal Palace, 
Turin ; Altarpieces in different churches, 
ib., and in Rome.—Meyer, Kiinst. Lex., iii. 
243. 

BEAUMONT, Sir GEORGE HOWLAND, 
Bart., born at Dunmow, Essex, Nov. 6, 1753, 
died at his seat at Coleorton, Leicestershire, 
England, Feb. 7, 1827. Pupil of Rich- 
ard Wilson ; became a respectable amateur 
landscape painter. His two landscapes in 
the National Gallery are pleasing examples 
of the classic school, but cannot lay claim 
to striking originality. He was a supreme 
authority in matters of taste and of para- 
mount influence in founding the National 
Gallery, to which he bequeathed many valu- 
able pictures collected in Italy and England. 
—Cunningham, vi. 147; Cat. Nat. Gal.; Mey- 
er, Kiinst. Lex., iii. 245 ; Redgrave. 

BEAURY-SAUREL, Mlle. AMELIE, born 
at Barcelona, Spain, of French parents ; con- 
temporary. Portrait painter, pupil of Tony 
Robert-Fleury, Bouguereau, and Giacomotti. 
Medal : 3d class, 1885. Works: Portrait of 
Léon Say (1880) ; do. of My Mother (1883). 

BEAUVAIS, ARMAND, born at Bar-sur- 
Aube, Nov. 30, 1840. Landscape and genre 
painter, pupil of Desjobert and of Géréme. 


116 


BEAUVERIE 


Medal: 3d class, 1882. Works: Gleaners 
Surprised by Rain, Banks of the Aven (1876); 
April, La Saint-Fiacre (1877) ; On the Cliffs 
at Carteret, End of October (1878); Novem- 
ber, Return from the Fields (1879) ; Sowing 
Season (1881); On the Heights of Omonville 
(1882) ; Walnut Trees of Augis in November, 
Goslings in April (1883); Return of the 
Flock, Windy Day (1884); In the Fields in 
October, Untilled Land—Winter Evening 
(1885). 

BEAUVERIE, CHARLES JOSEPH, born 
at Lyons, France ; contemporary. Genre and 
landscape painter, pupil of Lyons school of 
art, and of Gleyre. Paints well coloured, 
carefully finished pictures. Medals: 3d class, 
1877 ; 2d class, 1881. Works: Morning on 
the Oise, Avignon Museum ; Butcher’s Shop 
in Suburbs of Paris, Afternoon in Spring 
(1874) ; June, October Morning, Beggar 
Woman from Brittany, View near Cernay, 
Coming out of School (1879) ; The Forey 
Canal, St. Just-sur-Loire (1880) ; Girl Picking 
Peas, Autumn Evening (1881); Gathering 
Potatoes, Foggy Morning in Autumn (1882); 
Resting in the Fields, Ruins at Auvers 
(1883) ; Before the Rain, Morning at Auvers 
(1884) ; Valley of Amby, The Harrow (1885). 
—Meyer, Kiinst. Lex., i. 253. 

BEAVIS, RICHARD, born at Exmouth, 
England, in 1824. Landscape painter ; in 
1846 entered School of Design, Somerset 
House, London, and in 1850-63 was designer 
in a London carpet factory. Exhibited at 
Royal Academy in 1862, Mountain Rill, and 
Fishermen Picking up Wreck, and in 1863, 
In North Wales. Has visited France, Holland, 
Italy, Egypt, and the Holy Land. Member 
of the Institute of Painters in Water Colours. 
Works : Escape (1864); Military Train—Jer- 
sey, Drawing Timber in Picardy (1865) ; 
Loading Sand—Pas de Calais (1867); High 
Tide—Mouth of the Maas (1868) ; Hauling 
upa Fishing-Boat—Holland (1870) ; Autumn 
Ploughing (1871) ; Collecting Wreck—Am- 
bleteuse (1872); Shore at Scheveningen 
(1873) ; Ferry-Boat in Old Holland (1874) ; 
Bedouin Caravan, Ploughing in Egypt (1876); 


Threshing Floor at Gilgal, In the Forest at 
Fontainebleau (1877); Halt of Prince Ed- 
ward (1878); Pilgrims to Mecca (1879) ; 
Bedouin Encampment in Syria (1880); Re 
treat to Corunna (1883) ; Buckhurst Park, 
Hatfield Park (1885).—Art Journal (1877), 
65; Meyer, Kiinst. Lex., ii. 253. 

BECCADELLI, Legate, portrait, Titian, 
Uffizi, Florence; canvas, life size. The 
prelate, seated in an arm-chair, holds in his 
hands an unfolded paper. Painted in 1552. 
Engraved by J. C. Ulmer.—C. & C., Titian, 
ii. 216. 

BECCAFUMI, DOMENICO, born near Si- 
ena in 1486, died : 
in Siena, May 18, 
1551. Sienese 
school; son of Gi- 
acomo di Pace, 
a labourer in the 
service of Loren- 
zo Beccafumi, by 
whom he was ap- 
prenticed to the 
painter G. B. 
Tozzo, called Ca- 
panna, and 
whose surname 
he adopted; also called Mecuccio or Me- 
cherino, on account of his insignificant 
appearance. Domenico may have met Pe- 
rugino in Siena in 1508, and have felt 
his influence. In Rome, where he spent 
about two years (1510-1512), he became 
enamoured of the works of Michelangelo, 
whom he afterwards weakly imitated. On 
his return to Siena (1512) he competed 
with Sodoma with credit to himself, 
though he cannot be justly compared with 
that great artist. His style became more 
and more mannered as he advanced in life. 
The earliest and perhaps the best of his 
works is the St. Catherine Receiving the 
Stigmata (1512) and Saints, Siena Gallery ; 
other works are the Marriage and Death of 
the Virgin, frescos (1518), S. Bernardino, 
Siena ; Visitation, Hospital, Siena ; Nativity 
(1523), S. Martino, Siena; Marriage of St. 


117 


BECCARUZZI 


Catherine, Palazzo Doria, Rome ; Holy Fam- 
ily, Pitti, Florence. Beccafumi designed 
the best compositions which decorate the 
pavement of the Duomo, Siena. Seven of 
his cartoons for this work are preserved in 
the Academy.—Meyer, Kiinst. Lex., iii. 254 ; 
Vasari, ed. Mil. v. 633; Gaye, Carteggio, 
ui. 244, 355; Jansen, Leben und Werke des 
Malers Gio. Ant. Bazzi, Stuttgart (1870), 
117; Ch. Blanc, Ecole florentine ; Meyer, 
Kiinst. Lex., ii. 254; Liibke, Gesch. ital. 
Mal., ii. 408. 

BECCARUZZI, FRANCESCO, born at 
Conegliano, flourished in 1527-1544. Vene- 
tian school ; probably pupil of Pordenone, 
but in his pictures a successful imitator of 
Titian, though he shows in some respects, es- 
pecially in his sketchy treatment, the decline 
of the Venetian school. Painted mostly 
altarpieces for churches in Conegliano and 
Treviso. Works: St. Francis with six other 
Saints, Venice Academy.—Meyer, Kiinst. 
Lex., iii. 259; Ridolfi, Marav., i. 207; ©. 
& C., Italy, ii. 166. 

BECERRA, GASPAR, born at Baeza about 
1520, died in Madrid in 1570. Spanish 
school. Passed many years at Rome, study- 
ing painting, sculpture, and architecture ; 
aided Daniele da Volterra in the embellish- 
ment of the Rovere Chapel in Trinitd de’ 
Monti, where he painted a Nativity of the 
Virgin, and Giorgio Vasari, who calls him 
Bizzera, in the frescos of the Cancellaria in 
the palace of Cardinal Farnese. Returned 
to Spain in 1556, became sculptor to Philip 
If. in 1562 and one of his painters in ordi- 
nary in 1563. He executed frescos in the 
Alcazar of Madrid and many altarpieces, 
few of which have survived, but devoted 
most of his time to sculpture. A Sybil at- 
tributed to him is in the Hermitage, St. 
Petersburg, and a Magdalen in the Museo 
de Fomento, Madrid.—Vasari, ed. Mil., vi. 
229, vii. 60, 681 ; Stirling, i. 241 ; Ch. Blane, 
Ecole espagnole ; Cean Bermudez; Meyer, 
Kiinst. Lex., iii. 260. 

BECKENKAMP, KASPAR BENEDIKT, 
born at Ehrenbreitstein, near Coblentz, 


Feb. 5, 1747, died at Cologne, April 1, 
1828. German school ; history, landscape, 
and portrait painter, pupil of his father 
and of Januarius Zick, at Coblentz, where 
he found a patron in Clemens Wences- 
laus, Elector of Treves, and painted many 
princely personages ; settled at Cologne in 
1795 and devoted himself chiefly to the 
reproduction of paintings by the Old Ger- 
man masters.—Merlo, Nachrichten, 28. — 

BECKER, ADOLF VON, born in Fin- 
land, Aug. 14, 1831. Genre painter; pu- 
pil of Copenhagen Academy in 1856-58 ; 
studied then in Diisseldorf, and from 1860 
at the Ecole des Beaux Arts in Paris, and 
under Couture, Cogniet, Hébert, Barrias, 
and Courbet. Went to Spain, in 1863, 
and to Italy, in 1866. In 1869 he was 
appointed professor of drawing at Helsing- 
fors University. Works: Boy with Kite, 
French Judge (1863) ; Painter and Model 
(1867) ; Motherly Pride (1868) ; Gamblers 
(1869); After Dinner, A Game of Piquet, 
Sick Woman (1878).—Meyer, Kiinst. Lex., 
ili. 270. 

BECKER, ALBERT, born in Berlin, 
Oct. 22, 1830. Genre and animal painter, 
pupil of Berlin Academy from 1848 under 
Klober, and long his assistant in fresco 
painting. After a year in Paris (1860), he 
devoted himself to the representation of do- 
mestic animals, from his skill as a cattle 
painter was surnamed Cow-Becker. Works: 
Blind Man’s Buff, Village Scene, By the 
Roadside in Spring, At the Brook, Un- 
bidden Guests, Before the Parsonage, Halt 
at Forester’s House, Before and After the 
Christening.—Meyer, Kiinst. Lex., iii. 270; 
Miiller, 35. 

BECKER, AUGUST, born in Darmstadt 
in 1822. Landscape painter, pupil in 
Darmstadt of Schilbach, then at Diissel- 
dorf Academy. In 1844 he visited Norway, 
Switzerland, and Tyrol, afterwards the 
Scotch Highlands, and was repeatedly 
called to Balmoral to instruct the English 
princesses in drawing and landscape paint. 
ing. Works: Alpengliihen (1846); the Hu 


118 


BECKER 


rongen in the Midnight Sun (1846); Norwe- 
gian Table-land (1861); Evening in Berner 
Oberland (1860 and 1867); Evening in Ba- 
varian Highland (1862); The Eiger in Switz- 
erland, Kaisergebirge in Tyrol (1864); Ko- 
nigssee (1874); Wallensee in Switzerland, 
Inundation on the Nether Rhine, The Dach- 
stein (1876).—Brockhaus, ii. 669; Miller, 
34. | 

BECKER, FERDINAND, born in Mentiz ; 
contemporary. Painter of fairy tales, pupil 
in Frankfort of Steinle. First exhibited at 
Frankfort in 1874. Works: Story of the 
Little Brother and Sister (1874); The Poor 
Servant (1875) ; Story of the Three squires 
of Roland (1877), Royal Cabinet of Engrav- 
ings, Dresden.—Meyer, Kiinst. Lex., ii. 
271 ; Kunst-Chronik, ix. 398, x. 601, x11. 
548. 

BECKER, GEORGES, born in Paris 
about 1845. Genre painter, pupil of Gé- 
rome. Medals: Paris, 1870 ; 2d class, 1872 ; 
Philadelphia, 1876. Works: In the Cata- 
combs (1868); Orestes and the Furies 
(1870); Martyr’s Widow (1872); Rizpah 
protecting the Bodies of her Children 
(1873) ; Christian Martyr (1879) ; Image- 


Seller of 4 CES c E 
Pompeii, fc K ; B K R 
H. P. Kid- LOK E 
der, Boston.—Kunst-Chronik, viii. 71, x. 
532; Am. Art Rev. (1880), 489 ; Meyer, 
Kinst. Lex., iii. 271 ; Miller, 34. 
BECKER, JAKOB, born at Dittelsheim, 
near Worms, in 1810, died in Frankfort, 
Dec. 22, 1872. Genre and landscape painter, 
pupil of Diisseldorf Academy under Schir- 
mer ; after painting landscapes and roman- 
tic scenes, he took up genre, choosing his 
subjects chiefly from peasant life. In 1840 
he became professor at the Stidel Institute 
in Frankfort. Works: Knight and his 
Sweetheart, Praying Peasant Family, Even- 
ing at the Well, Departure of the Recruit, 
Returning Soldier; Wounded Poacher, 
Raczynski Gallery, Berlin ; Shepherd struck 
by Lightning, Stiadel Gallery, Frankfort ; 
Peasant Family on Pilgrimage, Husbandmen 


Surprised by a Storm, New Pinakothek, Mu: 
nich ; Returning Harvesters.—Meyer, Kiinst. 
Lex., iii. 267; Wolfgang Miller, Diissel- 
dorf K., 286. 

BECKER, KARL (LUDWIG FRIED- 
RICH), born in Ber- 
lin, Dec. 18, 1820. 
History and genre 
painter, pupil of 
Aug. von Klober in 
the Berlin Academy; 
studied fresco under 
A. Hess at Munich 
(1843), and after a 
year in Parisandtwo © Ve 
years in Rome (1845- f 
47) returned to Berlin to paint historical and 
mythological pictures.’ Visited Venice sev- 
eral times and collected materials for paint- 
ing Venetian Renaissance subjects, in repre- 
senting which his improved colour showed 
the influence of the masters of that school. 
Professor and senator of Berlin Academy. 
Works: Belisarius as a Beggar (1850) ; 
Cecrops as Founder of Athens, Hyllus, 
Mercury and Argus, Hypsipyle and Arche- 
morus, Cadmus as Dragon Slayer (frescos), 
National Museum, Berlin ; Christ on Lake 
Genesareth, Fiddler in the Courtyard, Ca- 
puchin Sermon, Jeweller at Venetian Sena- 
tor’s (1855) ; Visit at Venetian Nobleman’s 
(1857) ; Visit of Sebastian del Piombo to 
Titian (1861) ; Doge in Council (1864) ; 
The Bravo, Carnival in Venice, Return from 
Carnival, Venetian Balcony Scene, Charles 
V. at Titian’s, Scene from Gotz von Berlich- 
ingen (1869), Charles V. and Fugger (1870), 
National Gallery, Berlin ; Diirer in Venice 
(1873) ; Bianca Capello (1874) ; Coronation 
of Ulrich von Hutten as Poet Laureate 
(1876), Cologne Museum ; In the Picture 
Gallery, Scene from Marriage of Figaro 
(1874) ; Emperor Maximilian receiving 
Venetian Embassy (1877) ; Othello (1880) ; 
Carnival Festival in Doge’s Palace (1881). 
Works in the United States: Italian 
Mother’s Prayer, D. W. Powers, Rochester, 
N. Y.; Cup of Tea, W. Richmond, Provi- 


119 


BECKER 


dence; Farewell, W. H. Fosdick, Louis- 
ville; Petition to the Doge (1860), W. T. 


Walters, Baltimore ; Good Morning, Vene- 


tian Lady, C. H. Wolff, Philadelphia ; Grand- 
father’s Birthday, Mrs. W. P. Wilstach, 
Philadelphia ; Welcome Guests, J. T. Mar- 
tin, Brooklyn : Petitioning the Doge, C. P. 
Huntington, New York.—Brockhaus, ii. 670; 
Meyer, Kiinst. Lex., iii. 268 ; Miiller, 34; 
Rosenberg, Berliner Malerschule, O10 125% 
Land und Meer (1883), ii. 909. 

BECKER, LUDWIG HUGO, born at 
Wesel, July 19, 1833, died in Diisseldorf, 
Dec. 25, 1868. Landscape painter, pupil 
at Diisseldorf Academy of Schirmer and 
Gude, travelled afterwards in Westphalia, 
Switzerland, Normandy, and to the Baltic. 
Works : Sacrifice of the Ancient Germans 
(1856) ; Shepherd in the Pasture, Sunday 
Morning, Passing Storm, Washerwomen at 
the Brook, Village in the Snow, Christmas 
Eve, Boys Bathing, Shepherd Boy, On the 
Heights (1867); Vintage on the Moselle.— 
Blanckaris, 32 ; Meyer, Kiinst. Lex., iii. 270 : 
Zeitsch. f. b. K., viii. 275. 

BECKER, PETER, born in Frankfort, 
Noy. 10, 1828. Landscape and architecture 
painter; pupil at Stiidel Institute, under 
Jakob Becker and Hessemer. The banks of 
the Rhine have furnished him with subjects 
for many landscapes. Member of Société 
belge des Aquarellistes, Thirty large views 
of old Frankfort (cartoons), Rhine landscapes 
in oil and water colours.—Meyer, Kiinst. 
Lex., iii. 269. 

BECKERATH, MORITZ VON, born at 
Crefeld in 1838. History painter, pupil at 
Diisseldorf Academy of Kehren, then from 
1859, in Munich, of Schwind. Works: 
Death of Duke Ulrich of Wiirtemberg 
(1869), Burial of Alaric, Schack Gallery, 
Munich ; The Dream, Tragedy by Heine, 
Lear and the Fool, Napoleon’s Retreat from 
Moscow (1866); Gotz of Berlichingen with 
the Gipsies, Scenes from Crusades, Offering 
of the German Crown by Louis II. of Ba- 
varia (1874).—Meyer, Kiinst. Lex, ii) 272: 
Iustr. Zeitg. (1871), ii. 348, 


BECKMANN, KARL, born in Berlin, 
March 23, 1799, died there, Oct. 2, 1859. 
Landscape and architecture painter, pupil of 
Wach, visited Paris in 1824 and was in Italy 
in 1828-33. Was professor at the Berlin 
Academy. Works: Monastery of S. Bene- 
detto near Subiaco, National Gallery, Ber- 
lin.—Jordan, 43. 

BECKMANN, KONRAD, born in Han- 
over, in 1846. Genre painter, pupil, in 
1866-68, of Munich Academy, then of 
Piloty ; paints humorous subjects. Works: 
Tailor reading Newspaper (1868); Best Shot 
(1870); Sacrifice of -a Village Poet.—Kunst- 
Chronik, v. 108, xiv. 142. 

BECKMANN, LUDWIG, born in Han- 
over, Feb. 21, 1822. Animal painter; stu- 
dio in Disseldorf. His spirited and truth- 


ful boar and bear hunts have been bought 


mostly in England.—Brockhaus, ii. 675. 
BECKMANN, WILHELM (HERMANN 


ROBERT AUGUST), born in Diisseldorf, 


Oct. 3, 1852. History painter, pupil of Diis- 
seldorf Academy (1869-72), then until 1874 
of E. Bendeman, after whose compositions he 
executed some decorations in the Cornelius 
room of the National Gallery in Berlin. 
Works: Communion of the Hussites before 


Battle (1874); Gudrun (1877); Surrender of 


Fortress Rosenberg in 1427 (1880).—Kunst- 
Chronik, ix. 682, xii. 665. 

BECKWITH, JAMES CARROLL, born 
in Hannibal, Mo., Sept. 23, 1852. Figure 
and portrait painter, pupil, in 1873, of 
Carolus Duran and of the Ecole des Beaux 
Arts in Paris. Sketched in Spain and Nor- 
mandy in 1880-81. Member of Society of 
American Artists. Studio in New York. 
Works: Christian Martyr, Head of a Child 
(1881); Azalea, Model’s Breakfast (1882); 
Cordelia, Summer (1883); Vivian (1884). 
Portraits: Wm. M. Chase, Ethel (1882) ; 
Miss Jordan (1883). 

BECQUET, HENRI JEAN, born at 
Bruges in 1812, died there, Oct. 19, 1855. 
History painter, pupil at Bruges Academy 
of Dumery, then at Antwerp Academy of 
N. de Keyzer ; after his return became pro- 


120 


BEDAFF 


fessor at Bruges Academy. Works: Last 
Moments of Mozart; Holy Family, Acad- 
emy, Bruges; Martyrdom of St. Philemon, 
St. John’s Hospital, ib.—Biog. nat. de Bel- 
gique, i. 76. 

BEDAFF, ANTONIS VAN, born at Ant- 
werp, Dec. 25, 1787, died at Brussels in 1829. 
History and portrait painter, pupil of the 
Central School at Antwerp, but formed him- 
self principally by study of the Dutch mas- 
ters of the 17th century ; for a long time 
professor and director of the school of de- 
sion at Bois-le-Duc; settled afterwards at 
Brussels. Works: First Meeting of the 
Estates General at Dordrecht in 1572, Last 
Interview of William of Orange with EKg- 
mont, Confederation of the Nobles, National 
Museum, Amsterdam.—Biog. nat. de Bel- 
gique, 1. 76. 

BEDOLO, GIROLAMO. See Mazzola, 
Girolamo. 

BEECHEY, Sir WILLIAM, born at 
Burford, Oxfordshire, Dec. 12, 1753, died at 
Hampstead, Jan. 28, 1839. Admitted a 
student of the Royal Academy, London, in 
1772, and after painting portraits and pict- 
ures in Hogarth’s manner several years in 
Norwich returned to London, where he long 
enjoyed uninterrupted favour with the fash- 
ionable world. In 1793 he painted a por- 
trait of Queen Charlotte and was appointed 
by her royal portrait painter, and became 
an A.RA. In 1798 he painted the large 
equestrian picture, now at Hampton Court, 
of George II. at a Review in Hyde Park, 
and in the same year became R.A. and was 
knighted. He is said to have exhibited 362 
portraits at the Academy. As examples of 
his style may be cited his own portrait, and 
those of Sir F. Bourgeris, George Rose, and 
Mrs. Siddons, in the National Portrait Gal- 
lery, the portrait of Joseph Nollekens in the 
National Academy, that of George III. in 
the Waterloo Chapel, Windsor, and that of 
Mr. Coffin in the possession of his descend- 
ant, Miss Robbins, in Boston, Mass. He 
was successful in likenesses, but his women 
are wanting in grace and his men in char- 


acter.—Cat. Nat. Port. Gal.; Redgrave; F. 
de Conches, 327 ; Ch. Blane, Ecole anglaise ; 
Art Union Journal (1839); Meyer, iu. 277; 
Sandby, 1. 311. 

BEELT, CORNELIS, second half of 
17th century. Dutch school; landscape 
and genre painter in the manner of Claes 
Molenaer, and Helmont, the elder. Works: 
Interior of Weaver’s Room, Ferdinandeum, 
Innsbruck ; do., and Coast View, Mannheim 
Gallery ; Strand of Schevoningen, P. von 
Semenoff, St. Petersburg.—Meyer, Kiinst. 
Lex., i. 281. 

BEER, WILHELM (AMANDUS), born 
in Frankfort, Aug. 9, 1837. Genre painter, 
pupil of his great-uncle, the landscape 
painter Radl, then studied history painting 
in Stiidel Institute under Steinle. Having 
visited the Bavarian Alps, he took up genre 
painting, especially peasant life. After re- 
peated sojourns in Russia he returned to 
Frankfort in 1870. Works: Thomas of Bo- 
logna visiting Albrecht Diirer ; St. Cecilia ; 
The Meistersingers ; Banquet at a Nurem- 
berg Patrician’s ; Arrival of Church Bell in 
Bavarian Village ; Return of the Best Shot ; 
Turkish Prisoners in Russian Town ; Peas- 
ants’ Festival on St. Nicholas Day ; Russian 
Gipsy Camp; On the River-Banks of a Rus- 
sian Town ; First Turkish Prisoners in Do- 
rogobush. Exhibited at Munich (1883): 
Fair in Slednova, Horse Market in Russian 
Village, Gipsies in a Ravine.—Miller, 36. 

BEERNAERT, EUPHROSINE, born at 
Ostend, Belgium, April 11, 1831. Land- 
scape painter; pupil, in Brussels, of P. L. 
Kuhnen; travelled in Germany, France, 
and Italy. Medals in Vienna (1873), Brus- 
sels (1875), Philadelphia (1876), Sidney 
(1879), Melbourne (1880); Order of Leopold 
(1881). Paints chiefly Dutch views. Works: 
The Brook (1867); Old Oaks, Lisiére de 
bois dans les dunes (1878); Village of Dom- 
burg (1878); Wood at Oost-Kapel (1878).— 
Meyer, Kunst. Lex., iii. 286. 

BEERS, JAN VAN, born in Belgium ; 
contemporary. Genre and portrait painter ; 
studio in Antwerp. Works: Long Live the 


121 


BEERSTRAATEN 


Gueux ! (1874); Jacob van Maerlandt (1875); 
Trial for Witchcraft (1876); Faust and 
Mephistopheles, Black in Black, Evening 
Fancy, Page of 17th century (1877); Peo- 
ple’s Gratitude (1877); L’Enfant au Tarin 
(1878); Triptych with Death of Jacob Van 
Maerlandt (1879); Summer Evening (1880); 
Entombment (1883), Church of Krolingen. 
—Meyer, Kinst. Lex. ii. 287; Kunst- 
Chronik, xiii. 274, 707; xiv. 721. 

BEERSTRAATEN, A., second half of 17th 
century. Dutch school; landscape painter ; 
flourished probably at Amsterdam ; identi- 
fied, by Havard, with Jan B., but wrongly 
so, as the following works are all signed 
and well authenticated as his: Great Win- 
ter Landscape, Amsterdam Museum ; Fro- 
zen River with Skaters, Berlin Museum ; 
Winter Landscape (1664), Copenhagen 
Gallery. Several in private galleries.— 
Havard, A. & A., ili. 1; Meyer, Gemilde 
kéngl. Mus., 30; Repertorium, ili. 442 ; iv. 
300. 

BEERSTRAATEN, JAN, born in Am- 
sterdam, baptized May 31, 1622, died there 
in 1687. Dutch school ; landscape and ma- 
rine painter. His favourite subjects were 
winter scenes, with groups of small figures, 
painted with great harmony of colour, and 
fine contrasts of light and shade. Lingel- 
bach usually supplied the figures in his ma- 
rine pieces. Works: Ancient Port of Genoa, 
Louvre; Ruins of old Town Hall (1652), 
City Interior in Winter, Sea Battle (1666), 
Two Winter Views of Amsterdam, Winter 
Landscape, Museum, Amsterdam ; St. Olof’s 
Chapel, Six Collection, ib.; Winter View 
of old Town Hall at Amsterdam, An Italian 
Seaport, Rotterdam Museum; View of 
Dutch Church, Haarlem Gate at Amstér- 


I BEER-STRAATEN 


_frater stra tdn~rb 9 


dam, Copenhagen Museum ; Winter View 
of Dutch Town, Berlin Museum ; Rocky 
Coast with Vessels, Storm near Coast, 


Dresden Gallery.—Havard, A. & A., boll. 
iil. 1; Meyer, Kiinst. Lex., iii. 287. 
BEEST, ALBERT VAN, born at Rotter- 
dam, June 11, 1820, died in New York, Oct. 
8, 1860. Marine painter, self-taught ; ac- 
companied, when quite young, Prince Henry 
of the Netherlands on a three years’ journey 
to the East, went in 1845 to America, where 
he lived mostly in Boston and New York and 
acquired considerable reputation. William 
Bradford and R. Swain Gifford were his 
pupils.—Meyer, Kiinst. Lex., iii. 289. 
BEEST, SYBRAND VAN, flourished at 
The Hague in 1635-71. Dutch school ; land- 
scape and genre painter, apparently influ- 
enced by Jan van Goyen. Works: Parade 
on Coast of Scheveningen (1643), Municipal 
Museum, Hague; Market Scene, Rotterdam 
Museum ; Vegetable Market (attributed to 
S.Bles), Stuttgart Gallery; do., (1635), Liech- 
tenstein Gallery, Vienna ; Pig Market (1668), 
Peasant’s Room (attributed to I. van Ostade), 
Stockholm Museum.—Archief v. Nederl. K., 
iv. 117, 129; Meyer, Kinst. Lex., iii. 289. 
BEGA, CORNELIS PIETERSZ, born in 
Haarlem, bap- 
tized Nov. 15, 
1620, died there, 
Aug. 27, 1664. 
Dutch school; 
genre painter, 
one of the best 
pupils of Adrian 
van Ostade, 
. though by no 
means his equal. 
Works: Peas- 
ants’ Concert, 
Scholar in his 
Study, Amster- 
dam Museum ; Saying Grace, Van der Hoop 
Museum, ib. ; Company of Smokers, Lille 
Museum ; Rustic Interior (1662), Louvre, 
Paris; Two Ballad Singers, Alchymist in 
his Laboratory, Cassel Gallery ; Three (two 
dated 1663), Stidel Gallery, Frankfort; Den- 
tist, Moltke Gallery, Copenhagen; Musical 


Couple, Stockholm Museum; Tippling Scene, © 


122 


— 


BEGAS 


Schwerin Gallery; Peasants in Tavern (1663), 
Peasant Family, Weaver’s Room, Hermitage, 
St. Petersburg ; Weaver’s Room, Peterhof ; 
Lute Player (1662), Peasant Family, Peas- 
ants in a Tavern, Berlin Museum ; Peasants 
Dancing, Dresden Gallery ; do., Old Pina- 
kothek, Munich ; Room with Peasants, Room 
with two Women (attributed to S.van Hoog- 
straeten), Vienna Museum; Satyr Blowing 
Warm and Cold, Pesth Museum ; Lute Play- 


ers, Card Seu. Kb 62. 


Players, 

Uffizi, 

Florence; One (1662), Dublin Gallery.—Ch. 
Blanc, Ecole hollandaise; Meyer, Kiinst. 
Lex., 11. 290 ; Van der Willigen, 75. 

BEGAS, ADALBERT FRANZ EUGEN, 
born in Berlin, March 5, 1836. History, 
genre, and portrait painter, third son of 
Karl Begas. Studied engraving for five 
years under Liidnitz, in 1860 went to Paris 
and copied in the Louvre, and in 1862 to 
Weimar, where he became the pupil of Bick- 
lin. Visited Italy in 1863-69, and made 
copies of Titian and Raphael. Painted 
originally idyllic and mythological pictures 
and a great many very good portraits. 
Works: Portrait of himself (1860), Mother 
and Child (1863), National Gallery, Berlin ; 
Portrait of a Lady (1866), Cupid and Psyche 
(1867) ; Resurrection (1868); St. Cecilia 
(1869) ; Cupid finding Psyche (1870); Das 
Volkslied, Othello and Desdemona, Genii 
of Spring (1881); In Midsummer (1881) ; 
The Last Friend, Little Beginnings, Por- 
traits. —Brockhaus, ii. 690 ; Meyer, Kiinst. 
Lex., iii. 305; Miiller, 38; Illustr. Zeitg. 
(1871), ii. 211; Rosenberg, Berl. Malersch., 
76. 

BEGAS, KARL, born at Heinsberg, Sept. 
30, 1794; died in Berlin, Nov. 24, 1854. 
History and portrait painter. Studied at 
Bonn in 1801, under Philippart, and at Paris 
in 1812, under Gros. Passed successively 
under the influence of the old German and 
early Italian masters. Went to Italy in 1822, 
and in 1834 returned to Berlin, where he 
at first painted in the style of the so-called 


Nazarenes (German Pre-Raphaelites) ; but 
afterwards treated history and genre in the 
romantic style of the Diisseldorf school. He 
painted portraits 
of many celebrat- 
ed persons, such 
as Humboldt, 
Schelling, Corne- 
lius, Mendels- 
sohn, ete, and 
was long court 
painter and pro- 
fessor at the Ber- 
lin Academy. 
Works: Christ on 
Mount of Olives (1818), Garnisonskirche, 
Berlin ; Coming of the Holy Ghost (1821), 
Cathedral, ib.; Resurrection (1827), Werder 
Church, ib. ; Tobias and the Angel (1835), 
Portrait of Thorwaldsen, National Gallery, 
ib.; Baptism of Christ, Garnisonskirche, 
Potsdam; Portrait of his Parents (1821), 
Cologne Museum; Sermon on the Mount 
(1831) ; Exposing of Moses (1832) ; Lurley 
(1834); Henry IV. at Canossa (1836) ; Maid- 
en from Afar, Medisval King listening to 
Page playing the Harp (1838); Glorifica- 
tion of Christ (1839) ; Christ prophesying 
the Fall of Jerusalem (1840); Three Girls 
resting in the Shade of an Oak (1842) ; 
Mohrenwische (1842) ; replica, National Gal- 
lery, Berlin ; do., Ravené Gallery, ib.; Christ 
on Mount of Olives (1842); Christ Calling 
the Heavy Laden (1844) ; Christ Crucified 


C B (1846); Adam and 
Eve besidethe Body 
Fran. of Abel (1848) ; Be- 
trayal of Our Lord (1852).—Allgem. 4. 
Biogr., 11. 269 ; Ch. Blanc, Ecole allemande; 
Merlo, 33; Meyer, Kiinst. Lex., ii. 300; 
Raczynski, iii. 27; Rosenberg, Berl. Maler- 
sch., 61. 

BEGAS, OSKAR, born in Berlin, July 31, 
1828, died there, Nov. 10, 1883. History 
and portrait painter, son and pupil at Berlin 
Academy of Karl Begas; went in 1852 to 
Rome, and after his return, in 1854, devoted 
himself chiefly to portrait painting. Works: 


123 


BEGAS 


Fall of Pompeii (1852); Conversation (1853), 
National Gallery, Berlin; Descent from 
Cross (1853), St. Michael’s Church, Berlin ; 
Portraits of Sculptor Sussmann (1856), of 
Johannes von Miiller (1858), of Count 
Schwerin Putzar (1858), of Cornelius (1861), 
Antwerp Museum ; of Paulina Lucca, Crown 
Prince of Prussia, Princess Victoria (1866), 
Count von Moltke (1868), King William 
(1869), Reception of the Salzburg Protestants 
in Potsdam (1864), Frederic the Great in the 
Chapel at Charlottenburg (1868), Diana and 
Actzon, Six Scenes from Cupid and Psyche, 
Thirteen Allegories, Berlin City Hall ; Snipe 
Hunting on Riigen (1872); Chase in the 
Woods (1876) ; Venus Resting, Judgment of 
Paris, Mother’s Joy, Gretchen, Eva, Editha 
(1881).—Brockhaus, 11. 689 ; Meyer, Kiinst. 
Lex., 11. 302 ; Miiller, 37; Rosenberg, Berl. 
Malersch., 75. 

BEGAS, PARMENTIER LUISE, born 
in Vienna; contemporary. Architecture | 8 
and landscape painter ; pupil in Vienna of 
Schindler ; visited Constantinople, then sev- 
eral times Italy, especially Venice, Rome, 
and Taormina in Sicily; studio in Berlin 
since 1877, when she was married to Adal- 
bert Begas. Works: Venetian Vistas, Kitchen 
Interior in Sicily, Burial-Ground in Scutari. 
—Meyer, Kiinst. Lex., iii. 306; Miiller, 38 ; 
Zeitschr. f. b. K., xiii. 8378 ; Kunst-Chronik, 
xv. 549. 

BEGELJIN (Bega), ABRAHAM CORNE- 
LISZ, born at Leyden(?) in 1621 or 1622, 
died in Berlin, June 11, 1697. Dutch school ; 
landscape, animal, marine, and _ still-life 
painter ; settled at The Hague since 1653, 
went to Berlin as court painter to the Elector 
of Brandenburg in 1688. In his earlier 
works he approaches the manner of Asselyn, 
in his later ones that of Berchem. Works: 
Coast near Naples, Brussels Museum ; Still 
Life in Italian Landscape (1653), Bordeaux 
Museum ; Wood Landscape, Landscape with 
Thistles, Butterflies, and Birds, Brunswick 
Gallery ; Landscapes with Cattle, in the 
Louvre, Paris, the Amsterdam (1660) and 
Berlin Museums, Copenhagen (3), Oldenburg, 


Gottingen, Schwerin Galleries, Hermitage, — 
St. Petersburg (2), Liechtenstein Gallery, 


RH ABesgeijn- 

Vienna.— Meyer, Kiinst. Lex., 111.307; Riegel, 
Beitrige, 1. 389. 

BEGGROFF, ALEXANDER CARLO- 
VICH, born in St. Petersburg, Dec. 17, 1841. 
Marine painter, son of the water colour 
painter and lithographer Carl Petrovich B. ; — 
pupil of St. Petersburg Academy, then. in 
Paris (1871-74) of Bogoljuboff. Works: 
Views of Canea, Plymouth, Havre, Rouen, 
Etretat, Fécamp, Dordrecht; Views in Liv- 
land ; Mouth of the Neva, Baird’s Factory, 
and Exchange at St. Petersburg; Harbor 
at Peterhof ; The Steamships Dershava, 
Grand Duke Constantine, Svietlana (1872- 

1); Winter View of St. Petersburg Ce 
—Meyer, Kiinst. Lex., iii. 309. 

BEHAM (Behaim, Behem), BARTHEL, 
born in Nuremberg in 1502, died in Venice 
in 1540. German school ; history and por- 
trait painter, pupil of Diirer. In 1524 he 
was accused of heresy, and exiled, together 
with his brother, Hans Sebald, and George 
Pencz. In 1527 was at Munich, in service of 
Duke William of Bavaria, who sent him 
afterwards to Italy. Was also an engraver, 
and one of the so-called Little Masters. 
Works: Palatine Otto Heinrich (1535), Augs- 
burg Gallery ; five panels with Saints, Christ 
on Mount of Olives, Berlin Museum ; three 
pictures with Saints and Donors, altarpiece 
with Coronation of the Virgin (1536), do., 
with SS. Ann, Andrew, Erasmus, etc., Christ 
on the Cross, four panels with Saints, Fiir- 
stenberg Gallery, Donaueschingen ; three 
panels with portraits of King Ferdinand’s 
Children (?), Amsterdam Museum; altar- 
piece with Flagellation and Saints, Kunst- 
halle, Carlsruhe; Miracle of the Cross 
(1530), Death of Curtius (1540), King Louis 
of Hungary,Old Pinakothek, Munich ; Christ 


bearing the Cross, Maurice Chapel, Nurem- 


124 


BEHAM 


berg ; two portraits of Bavarian Princes, 
Nostitz Gallery, Prague; fifteen do., Schleiss- 
heim Gallery ; Two altar wings with Saints, 
Sigmaringen Muscum; St. Bruno in the 
Desert, Stuttgart Gallery.—Allgem.d.Biogr., 
ii. 277; Keane, Early Masters, 151; Meyer, 
Kiinst. Lex., iii. 311; Scott, Little Masters, 
49; W. & W., ii. 410; Rosenberg, S. & B. 
Beham, Leipsic, 1875. 

BEHAM (Behaim, Behem), HANS SE- 
BALD, born at Nuremberg in 1500, died in 
Frankfort, Nov. 22, 1550. German school ; 
banished, with his brother Barthel, in 1524, 


but seems to have returned to Nuremberg, 
and afterwards led a wandering life, appear- 
ing in Munich, 1530, and settled in Frank- 
fort in 1534. Was most prominent as one 
of the Little Masters, excelling as a paint- 
er only in miniatures. Works: Table-Top, 
with Scenes from Life of David, Louvre ; 
do. with Bathers, etc., Wiesbaden Museum ; 
Scenes of ; 

Bathing, 

Shipping and 

Hunting, 

Berlin Mu- 

seum.—Allgem. d. Biogr., ii. 279; Keane, 
Early Masters, 144; Kugler (Crowe), i. 179 ; 
Meyer, Kiinst. Lex., ii. 318; Scott, Little 
Masters, 49; W. & W., 11. 407; Rosenberg, 
S. & B. Beham. 

BEHMER, HERMANN, born at Merzien, 
Anhalt, in 1831. Genre and portrait painter, 
pupil from 1853 in Berlin of Steffeck, and 
at the Academy, then (1856) in Paris, at the 
Ecole des Beaux Arts, and of Flandrin and 
Couture. After a two years’ journey through 
Italy, Egypt, and Palestine in 1866-68, he 
settled in Berlin, whence in 1873 he re- 
moved to Weimar. Medal, in Philadelphia, 
1876. Works: Girl with Wild Roses, In- 
terior of House at Bethlehem (1868).— 
Meyer, Kiinst. Lex., 111. 335. 

BEHR, CAREL JACOBUS, born at The 
Hague, July 9, 1812. Architecture painter, 
pupil of B. J. van Hove ; member of Amster- 
dam Academy, 1837. Works: View of City 
Hall at The Hague (1836); Binnenhof, ib. 


(1839); Winter Landscape (1840); Het lange 
Voorhout, Hague (1842); Ruins of old Cas- 
tle, Pavilion, Haarlem.—Immerzeel, i. 39. 

BEHRENDSEN, AUGUST, born in Mag: 
deburg, in 1810. Landscape painter, pupil 
at Berlin Academy of Schirmer, to whose 
style he adhered in most of his landscapes ; 
settled in Koénigsberg, where, in 1855, he 
became professor at the Academy ; obtained 
the gold medal in 1862, and was made 
member of the Berlin Academy in 1869, 
Studio at Meran, Tyrol. Works: View near 
Conegliano, Landscape in the style of Claude 
Lorrain, Mill on Mountain Brook, Morning 
in the Alps (Kénigsberg Museum); Evening 
in the Salzburg Mountains, View on the 
Traun Hills, On Lake Como, On the Coast 
of Genoa, Coast near Nice, Evening on the 
Haff, Clearing in Pinewood, Lake in the 
High Alps, From Northern Tyrol.—Diosku- 
ren (1860), 384 ; (1861), 245; (1864), 431; 
(1866), 58, 369; (1867), 156; Kugler, K1]. 
Schriften, 11. 574, 677; Kunstblatt (1855), 
395; (1856), 482; (1857), 122; Meyer, 
Kiinst. Lex., i. 336. 

BEICH, JOACHIM FRANZ, born at 
Ravensburg, Oct. 15, 1665, died in Munich 
in 1748. Landscape and battle painter, 
pupil and of son Daniel Beich (flourished at 
Ravensburg and Munich second half of 17th 
century); completed his studies in Italy after 
Poussin, and became court painter to the 
Elector of Bavaria. His pictures are arti- 
ficial, but often grand in composition. 
Works: Prophet Elijah, John Baptist, and 
others,Old Pinakothek, Munich; eleven great 
Episodes from the Turkish War (1683-88), 
Schleissheim Gallery; others in Vienna 
Museum ; Brunswick, Manheim, and Stutt- 
gart Galleries.—Kugler (Crowe), ii. 567; 
Meyer, Kiinst. Lex., 1. 337. 

BEIDEMANN, ALEXANDER JEGORO- 
VICH, born in St. Petersburg, Aug. 17, 
1826, died there, Feb. 27, 1869. History 
and portrait painter, pupil of the St. Peters- 
burg Academy; visited Germany, Italy, 
and France in 1857-60; after his return 
became member of the Academy, and in 


125 


BEINKE 


1861 professor. In 1863 and 1865 he trav- 
elled in the Crimea, and in 1868 went to 
Paris to paint altarpieces for the Russian 
churches there. Works: St. John Baptist 
in the Desert (1852); Flight into Egypt 
(1853); Come unto Me (1854); Christ in 
House of Mary and Martha (1855); Views 
and Costumes from Italy and Bavaria, 
Procession of the Host in Italy, Savoyard 
Girl at her Mother’s Grave, Ruth and 
Boaz, Girl Drinking from a Spring, Lovers 
on a Terrace, Inn in Bavaria (1860), Appari- 


BELGIOJOSO, CARLO BARBIANODI, 
Count, born in Milan, Aug. 17, 1815, died 
there, June 22,1881. Pupil of Milan Acad- 
emy, under Hayez; in 1840 went to Rome, 
and studied works of Raphael for two years. 
On his return to Milan devoted himself to 
painting until 1854, when he abandoned 
art for a literary career. In 1860-1880 he 
was President of the Academy. His paint- 
ings show little talent, but are carefully ex- 
ecuted.—Meyer, Kiinst. Lex., ii. 347. 

BELIN, JEAN, born at Caen, baptized 
Nov. 9, 1653, died in 
Paris, Feb. 12, 1715. — 
Commonly called Jean 
Baptiste Blin, or Blain 
de Fontenay. Painter 
of still life, pupil of 
Monnoyer, whose daugh- 
ter he married. Mem- 
ber of the Academy in 


Belisarius, Jacques Louis David, Louvre, Paris. 


tion of the Virgin (1860); Assumption 
(1863).—Meyer, Kiinst. Lex., ii. 338. 

BEINKE, FRITZ, born in Diisseldorf, 
April 23, 1842. Genre painter, pupil of the 
Diisseldorf Academy under Miiller, Sohn, 
and Bendemann, then studied, travelling on 
repeated journeys through Germany, and 
northern Italy. Works: Visit of Condo- 
lence (1866); Rag-Picker in Black Forest 
(1868); Prayer (1871); Return from Excur- 
sion (1873); Forester at Breakfast (1873); 
The Juggler (1874); Meeting in the Field 
(1875); Long Live the Emperor! (1876); 
Flower Girl (1877).—Meyer, Kiinst. Lex., 
lil, 342. 


1687. Employed by 
Monnoyer in all his 
works in the royal cas- 
tles and public build- 
ings, he soon won the 
favor of Louis XIV., and 
received numerous or- 
ders for works at Ver- 
sailles, Marly, Compi- 
éene, and Fontainebleau. 
Works : Collection of his 
paintings in Grand Tri- 
anon; two in the Louvre, others in the 
Museum of Caen, Bayeux, Rennes, Orléans, 
Avignon, Tours, and Marseilles.—Meyer, 
Kiinst. Lex., iii. 348 ; D’Argenville, Abrége, 
iv. 280; Clémont de Ris, Les Musées de 
Province, 115 ; Larousse. 

BELISARIUS, Jacques Louis David, Lou- 
vre, Paris; canvas, H. 3 ft. 4 in. x 3 ft. 8 in.; 
signed, dated Paris, 1784. The blind Roman 
general, reduced to beggary, seated at en- 
trance of a temple at right, is recognized by 
one of his old soldiers as a woman drops an 
obolus into the helmet, held by his young 
companion. Salon, 1785. Engraved by 
Morel; Sisco. ‘This picture is a reduction of 


126 


BELLA 


the original, by Fabre and Girodet, retouched 
and signed by David. The original (about 
10 feet square), painted in 1780, was bought 
by the Elector of Treves, and passed to Lu- 
cien Bonaparte.—Landon, Musée, i. Pl. 13; 
Filhol, xi. Pl. 20; Villot, Cat. Louvre. 

By F. Gérard, private gallery, Munich ; 
canvas, H. 7 ft. 8 in. x5 ft. Tin. Belisarius, 
full length, standing, bearing in his arms a 
youth who appears to be dying from the 
bite of a serpent, which still clings to his 
leg; the blind general, seeking the road 
with his staff, is walking along the edge of 
a precipice. Painted in 1800. Engraved 
by Desnoyers.—Landon, Musée, ii. Pl. 56. 

BELLA DI TIZIANO, Titian, Hermitage, 
St. Petersburg ; canvas, H. 3 ft. x 2 ft. 53 in. 
A slender girl, half-length, in a brownish 


) . 
Was 


F 


Bella di Tiziano, Titian, Palazzo Pitti, Florence. 

red hat decorated with ostrich feathers and 
pearls ; bracelet of precious stones on arm, 
pearl ear-rings, and necklace. Belonged to 
Crozat Collection. Engraved by Sanders.— 
C. & C., Titian, i. 393 ; Cat. Hermitage, 44. 

By Titian, Palazzo Pitti, Florence ; can- 
vas, H. 3 ft. 3in. x 2 ft. 6 in. A young 
woman, half-length, in a low dress, with 


braided ornaments and slashed sleeves, her 
auburn hair plaited and twisted around her 
head, and. a gold chain on her neck; one 
hand holds a chain of gold. Painted about 
1534. Called by some a portrait of the Duch- 
ess of Urbino, by others of Violante, daughter 
of Palma Vecchio. Engraved by Guadag- 
ninii—C. & C., Titian, i. 8391; Gal. du Pal. 

Pitti, i. Pl. 112; Burckhardt, 719. | 

Attributed to Titian, Palazzo Sciarra, 
Rome. “Afine portrait by Palma Vecchio.” 
—C. & C., Titian, 1. 66 ; i. 442. 

By Titian, Vienna Museum; canvas, H. 
3 ft. 2in. x 2 ft. Same portrait as Bella 
of the Hermitage, loosely dressed in a black 
satin pelisse lined with ermine, with hair 
twisted and adorned with pearls. Bought 
in Spain by Charles V. Engraved by Bartsch. 
—C. & C., Titian, 1. 393. 

BELLANGE, EUGENE, born in Rouen, 
Feb. 16, 1837. Military genre painter, son 
and pupil of J. L. H. Bellangé; pupil also 
of Picot. In 1861 he painted scenes from. 
the Italian campaign of 1859; has recently 
devoted himself to illustrating French sol- 
dier types in water colours (Salon, 1877-78). 
Works: A Morning in Dieppe (1880); The 
Cobbler’s House (1883).—Meyer, Kunst. 
Lex., ii. 362. 

BELLANGE, (JOSEPH LOUIS) HIP- 
POLYTE, born in Paris, Feb. 16, 1800, 
died there, April 10, 1866. History and 
genre painter, pupil of Gros and of the 
Ecole des Beaux Arts. First attracted at- 
tention by his lithographs. Exhibited in 
nearly every salon from 1822 to 1866. Med- 
als: 2d class, 1824, 1855; L. of Honour, 
1834; Officer, 1861; Director of the Rouen 
Museum, 1837-54. Many of his works have 
been engraved. Works: Battle of Mos- 
cowa (1822), Plaster-Cast’ Peddler (1833), 
Return from Elba (1834), Battle of Fleurus, 
Blow with the Stirrup (1836), Battle of 
Wagram (1837), Battle of Loano (1838), 
Battle of Altenkirchen, Soldier’s Family, 
Custom House in Lower Normandy (1839), 
Battle of Hondschoote (1840), Assault of 
Teniah de Mouzaia, Soldier in the Hospital 


127 


BELLANGER 


(1841), Conscript Departing, Soldier Bar 
turning (1842), Battle of Corogne (1843), 
Battle of Ocana (1845), Versailles Museum ; 
Trumpeter’s Farewell, Kellermann’s Charge 
at Marengo (1847), Rouen Museum; The 
Gallant Hussar (1849); Good Priest, Mayor’s 
Harangue (1850) ; Passage of the Guad- 
arrama, Retreat from Russia, Review after 
the Battle (1852), Emperor of Russia ; 
Charge of Cuirassiers (1853); Battle of 
Alma, Night-Watch (1855) ; Capturing a 
Russian Ambush (1857), Farewell Salute, 
Battle in Streets of Magenta, Assault on 
Malakoff (1859), Marseilles Museum ; T'wo 
Friends (1861); Incident of Battle of 
Magenta (1863); Cuirassiers at Waterloo, 
Marching Past after Victory (1865); Beaten 
Squadron of Cavalry, The Guard Dies, his 
last work (1866).—Larousse ; Meyer, Kiinst. 
Lex., iii. 8361; Meyer, Gesch., 473 ; Revue 
des d. Mondes, 1866, June 1; Kunst-Chro- 
nik, 1. 62. 

BELLANGER, CAMILLE FELIX, born 
in Paris; contemporary. History painter, 
pupil of A. Cabanel, and of Bouguereau. 
Medal, 2d class, 1875. Works: Death of 
Abel (1875), Luxembourg Museum ; Cleom- 
brotus IT., King of Sparta (1876); Bacchante 
(1877); Angel at the Tomb (1877) ; Scene 
from Hell, after Dante (1878); Scene from 
Dante (1879) ; Idyl, Young Faun (1880); 
Twilight and Morning (1881); Coucou! 
(1882); Cupid Asleep, A Florist (1883) ; Au 
Luxembourg (1885).—Meyer, Kiinst. Lex., 
iii. 363; Kunst-Chronik, xii. 618. 

BELLAY, PAUL ALPHONSE, born in 
Paris, March 22, 1826. Portrait and genre 
painter, pupil of Picot and of Henriquel 
Dupont; entered in 1851 the Ecole des 
Beaux Arts, and received in 1852 the Roman 
prize for engraving. Since 1861 exhibited 
first Italian genre subjects; then mostly 
water colour copies after Raphael. Medals 
in 1866, 1867, 1869 ; L. of Honour, 1873.— 
Meyer, Kiinst. Lex., iii. 368. 

BELLE, ALEXIS SIMON, born in Paris, 
Jan. 12, 1674, died there, Nov. 21, 1734. 
Portrait painter, pupil of Frangois de Troy ; 


member of Academy in 1703 ; held in great 
honour by the French and Polish courts 
and the Pretender James HI. Works: Por- 
traits of Maria Leczinska and Son, of Dau- 
phin Louis, of the Sculptor Lerambert, of 
himself, Versailles Museum ; Portraits of 
Louis XIV., his Queen, his Sisters, Duch- 
ess of Orléans, Stanislaus Leczinska, Car- 
dinal Polignac.—Dussieux, Mémoirs inédits, 
ii. 233 ; Jal, 187; Larousse ; Meyer, Kunst. 
Lex., 369. ; 

BELLE, AUGUSTIN LOUIS, born in 
Paris in 1757, died there, Jan. 12, 1841. 
History painter, son and pupil of Clement 
Louis B. Succeeded his father in 1806 as 
inspector of the Gobelins manufactory. 
Works: Tobias Blessed by his Father 
(1788); Ruth and Boaz (1791); Mars crown- 
ed by Venus (1801); Allegory of Peace 
(1817), Rouen Museum; Hagar in the Desert 
(1819), Tours Museum. — Meyer, Kiinst. 
Lex., 11. 369 ; Bellier. 

BELLE, CLEMENT LOUIS MARIE 
ANNH, born in Paris, Nov. 16, 1722, died 
there, Sept. 29, 1806. History painter, son 
of Alexis Simon, pupil of his mother Marie 
Nicole Horthemels and of Francois Lemoine ; 
member of Academy in 1761; professor in 
1765 and rector in 1790. After 1755 In- 
spector of the Gobelins manufactory, Paris. 
Works: Purification of the Churches after 
the Desecration of 1722 (1759), St. Merry, 
Paris ; Archangel Michael as Victor (1767), 
Soissons Cathedral; Christ, Parliament- 
Building, Dijon ; Return of the Prodigal 
Son, Lille Museum.—Larousse; Meyer, 
Kiinst. Lex., ii. 369. 

BELLE FERONNIERE, Leonardo da 
Vinci, Louvre; wood, H. 2 ft.x1 ft. 54 
in. Bust, head three quarters, turned to 
left, dressed in a red robe, ornamented with 
embroidery and gold bands; hair confined 
with a féronnicre or frontlet. Long sup- 
posed to be a portrait of the noted mistress 
of Francis I., La Féronniére, so called either 
because she was the wife of a rich feronnier 
(iron-monger) or of a bourgeois named Jean 
Féron, whose jealousy is said to have been 


128 


BELLE 


the primal cause of the king’s death. Be- 
lieved by some to be the portrait of Lucrezia 
Crivelli, mistress of Ludovico Sforza, Duke 
of Milan, painted by Leonardo about 1497 ; 
and by M. Delécluze a likeness of Ginevra 
Benci. But the picture is called by Pére 
Dan in his Trésor des Merveilles de Fon- 
tainebleau (1642), portrait of a Duchess of 


Belle Féronniare, Leonardo da Vinci, Louvre. 


Mantua, and it has lately been shown that 
Leonardo really painted (1500) a portrait of 
Isabella d’Este Gonzaga, Marchioness of 
Mantua. As the features are wholly unlike 
those of Isabella in Titian’s picture in the 
Vienna Museum, La Belle Feronniére may 
be considered still unidentified. —Vasari, 
ed. Mil, iv. 61; Clément, 214; Rigollot, 
Hist. des Arts, i. 297; Heaton, Leonardo, 
15, 268; Acad. (1870), i. 123 ; Villot, Cat. 
Louvre ; Miindler, Essai, 123; Ch. Blanc, 
Ecole florentine. 

BELLE JARDINIERE. 
Belle Jardiniere. 

BELLEE, LEON (Le Goaésbe) DE, born 
at Ploermel (Morbihan); contemporary. 
Landscape painter, pupil of Montfort. 
Paints sometimes marine-views. Works: 


See Madonna 


Washing at Low Tide, Clearing in the 
Woods, Charcoal-Burners’ Hut (1874); 
Fleet of Sardine Fishermen (1875); Cutting 
in the Woods, In the Woods with Hoar- 
Frost (1879); Fish-Pond in Forest of Aigne 
(1880); Before a Storm, Autumn (1881); 
Fishing in Arctic Regions at Hammerfest, 
Town of Karasjok in Lapland (1882); 
Pierced Rock in Calvados, Pond in May 
(1883); Life in the Forest, Swamp in Isle of 
France (1884); Hoar Frost (1885).—L’Art 
(1875), i. 281. 

BELLEGAMBE, JEAN (Jehan), born at 
Douai, about 1475 (?), died there after 1533. 
Flemish school; history painter, and one 
of the best masters in Flanders of that 
period ; enjoyed great fame, especially in his 
native city, and was styled le maitre des 
couleurs. Works: Polyptych with Trinity 
and eight other pictures (about 1511), Notre 
Dame, Douai; two altarwings with Glori- 
fication of the Virgin (1526), Museum, ib.; 
Adoration of Infant Christ (1528), Prepar- 
ing for Crucifixion, Cathedral, Arras ; Altar 
with Last Judgment, Berlin Museum ; 
Adoration of the Magi (?), Madrid Museum. 
—Biog. nat. de Belgique, ii. 126; Forster, 
Denkmale, x. iii. 7; Meyer, Kiinst. Lex., 111. 
371 ; Michiels, iv. 150; W. & W., ii. 525. 

BELLEL, JEAN JOSEPH, born in 
Paris, Jan. 26, 1810. Landscape painter ; 
pupil of Ouvrié ; sent his first picture to the 
Salon of 1836. In 1856 he visited Alge- 
ria, and has drawn many of his subjects 
from there. He is noted for his charcoal 
drawings. Medal, Ist class, 1848; L. of 
Honour, 1860. Works: View of the Close 
of St. Mark in Rouen (1836); Christ and the 
Samaritan Woman, Environs of Clermont, 
Gorge of Atrans, View of Massa (1846), 
Duchess of Orleans; Daphnis and Chloe 
(1853); Flight into Egypt (1855); Street in 
Constantine (1857); Landscape with Ruins, 
The Halt, Oasis in the Sahara (1859); 
Oasis of Tolga, Road from El-Kantara 
to Bathna (1861), Ch. Evrard, Paris; 
Solitude or Road from Medeah to Boghar 
(1863), Luxembourg Museum ; Environs of 


129 


BELLER 


Naples, Chartres Museum ; Joseph led into 
Captivity, Daphnis and Chloe, Crow Lake 
(1864); Gypsies Travelling (1865); Road 
from Chateldon to Montpeyroux, Banks of 
the Thérain (1866) ; Arabs running from a 
Fire, Saw-mill on the River Sillet (1868) ; 
The Last Fine Days, Environs of Medeah 
(1869) ; Mountains of Lachant (1870); Road 
from Boghar to Boussaada, Environs of 
Cassis (1873); Environs of Allevard (1874) ; 
From Constantine to Batna (1875); Arabs 
Looking for Camping Ground (1876); Viva- 
rais, Road from Medeah to Boghar (1879) ; 
Environs of Toulon, Across Algeria (1880) ; 
Ravine of Constantine, Arabian Improviser, 
Lachaux Road (1881); View in Trani, Saw- 
mill in Valley of Thérain (1882); Kabylia, 
Environs of Puy-Guillaume (1883); Castle of 
Chateldon, Approach to Biskra (1885).—La- 
rousse ; Meyer, Gesch., 768, 777; Miller, 
39; Vapereau, 175. 

BELLER, ALEXANDER IVANOVICH, 
born in St. Petersburg, Aug. 5, 1804, died 
there, Feb. 25,1870. Pupil of Venezianoff 
and of the St. Petersburg Academy. Was 
a deaf mute, and devoted his whole life to 
the art education of deaf mutes. Works: 
Room in a Palace, Peasant’s Room (1833), 
Twelve Pictures of Saints for Deaf-Mute 
Asylum, and Obuchow Hospital, St. Peters- 
burg.—Meyer, Kiinst. Lex., ii. 375. 

BELLERMANN, FERDINAND, born at 
Erfurt, March 14, 1814. Landscape painter ; 
pupil, under Blechen, of the Berlin Acad- 
emy and of Schirmer, visited with Friedrich 
Preller in 1839 Riigen, in 1840 the Nether- 
lands and Norway, and in 1842, on Hum- 
boldt’s suggestion, was sent to South 
America by King Frederick William IV. 
He returned in 1845, with three hundred 
sketches in oil and drawings, now in the 
National Gallery, Berlin, devoted himself to 
teaching in 1849, visited Italy in 1853-54, 
and became professor at the Berlin Acad- 
emy in 1866. Since his second journey to 
Italy in 1877, he has alternately treated 
Italian and Tropical subjects. Works: Stu- 
benkammer on Riigen, Norwegian Land- 


scape, Bellevue Castle, Berlin; Guachero 
Cave in Venezuela, Replica, with Humboldt 


and Missionaries, National Gallery, Berlin ; : 


Plateau of Merida, Coast of Laguayra, Lake 
Urno, three Tropical Wood Landscapes, 
Sierra Nevada, Abrida in the Andes, Valley 
of Caracas, Falls of Terni, Castel Gandolfo, 


Palace of Queen Joanna, Giant’s Grave and 


Sacrificial Stone, New Museum, Berlin.— 
Meyer, Kiinst. Lex., iii. 376; Rosenberg, 
Berl. Malersch., 328; Zeitschr. f. b. K., iv. 
118. 

BELLET DU POISAT, PIERRE AL- 
FRED, born at Bourgoin, Isére, Oct. 5, 
1823, died in Paris in Sept., 1883. History, 
landscape, and marine painter, pupil of 
Drolling and of Flandrin; entered Ecole 
des Beaux Arts in 1845, followed at first the 
style of Delacroix, later that of the Vene- 
tians, and has more recently, in landscape 
and marine painting, imitated the Dutch. 
Works: Marguérite in Church (1857); En- 
try of the Hussites into the Council of Basle 
(1859); Jews in Captivity (1868); Christ 
served by Angels, Christ walking on the 


Waters (1875); La Nuit dans le Port (1879); 


Mill of Dordrecht, Canal near Scheveningen, 
Rural Wedding, Fight of the Centaurs with 
the Lapiths (1880); Canal in the Dunes 
(1881); Banks of the Meuse, Marine (1882); 
Entrance to the Harbour of Marseilles 
(1883).—Meyer, Gesch., 288 ; Larousse. 
BELLEVOIS, J., second half of 17th cen- 
tury, died in Hamburg in 1684 (?). Dutch 
school; marine painter ; mentioned as set- 
tled in Hamburg about 1673-80. Works: 
Calm Sea with Vessels, Madrid Museum ; 
Slightly Agitated Sea (1659), Dr. A. Bre- 
dius, Amsterdam ; Storm on Rocky Coast 
(1664), Brunswick Gallery ; Similar subject, 
Consul Weber, Hamburg.—Meyer, Kiinst. 
Lex., ui. 378; Riegel, Beitrage, ii. 410. 
BELLINI, GENTILE, born probably at 
Padua in 1426-7, died in Venice, Feb. 23, 
1507. Venetian school ; eldest son and pupil 
of Jacopo Bellini, in whose studio he and 
his brother Giovanni laboured until Jaco- 
po’s death. 


130 


Gentile probably settled in ; 


Se en, ak eo 


nea aa, eS 


BELLINI 


Venice about 1460, but no picture of his is 
known earlier than 1464, when he painted 
the doors of the great organ of San Marco. 
In 1465 he finished 
the apotheosis of 
Lorenzo Giustini- 
ani, now in the lum- 
ber room of the 
Venice Academy. 
From this time his 
career is obscure 
until 1474, when he 
was appointed to re- 
store the pictures 
in the Sala del Gran Consiglio, Venice. His 
works were highly praised by his contem- 
poraries, and accepted as masterpieces by 
the government. In 1479 he was sent with 
two assistants, at the expense of the state, 
to Constantinople, where he painted the por- 
trait of Mehemet II., now owned by Sir H. 
A. Layard. He also brought back a picture, 
now in the Louvre, representing the recep- 
tion of a Venetian Embassy by the Grand 
Vizier. On his return to Venice he resumed 
his labours in the Council Hall, in conjunc- 
tion with his brother Giovanni, and painted 
four great canvases in oil illustrative of the 
legend of Barbarossa, and other pictures of 
events connected with Venetian history, 
which were for the most part destroyed in 
the fire of 1577. But it was not until the 
close of the century that Gentile rose to a 
lofty position. His Miracle of the Cure was 
painted about 1494. He appears at his 
best in the Procession and Miracle of the 
Cross (1496 and 1500), Venice Academy, 
and in the Sermon of St. Mark, at Alexan- 
dria, Brera, Milan. The last picture, which 
was finished by Giovanni Bellini after his 
brother’s death, is fine in composition and 
full of power, showing that he had consider- 
ably advanced beyond his father. Other 
works: Glorification of first Patriarch of 
Venice (1465), Academy, Venice ; Portrait 
of a Doge, Museo Civico, ib.; do. of Caterina 
Cornaro, Pesth Museum ; Madonna, Berlin 
Museum.—C. & C., N. Italy, i. 117; Ch. 


Blane, Ecole vénitienne ; Vasari, ed. Mil., iii. 
149, 175; Meyer, Kiinst. Lex., ii. 391; 


OPVS* GEN TILIS*« BELLINVS + 


Liibke, Gesch. ital. Mal., i. 534; Zeitschr. 
ried eed OOF p aiteee Be 

BELLINI, GIOVANNI, born in Padua, 
or Venice, about 
1428, died there, 
Nov. 29, 1516. 


ni, and with him 


+} 
Venetian school; ox eee ay 
younger brother 4A i pp iN 
of Gentile Belli- @ = aa .)\ 
pupil and assist- JI us y 
ant of his father, 
Jacopo, in Pad- . 
ua. While there / ( | f 


he was brought 
into contact 
with Mantegna, his future brother-in-law, 
then a pupil of Squarcione, and adopted 
many of his peculiarities, combining them 
with those of his father. Thisis shown in 
the Paduan character of his Christ’s Agony 
in the Garden, National Gallery, London, a 
picture long ascribed to Mantegna. The 
same mingling of the Venetian and Paduan 
styles appears in his Pieta in the Lochis- 
Carrara Gallery, Bergamo, which is full of 
Mantegnesque grimness. His Péetd in the 
Brera, Milan, is less rigid. A third Pieta 
(1472) is in the Palazzo Ducale, Venice. 
About this time he produced his vast tem- 
pera of the Madonna with Saints, burned in 
S Giovanni e Paolo, Venice, a noble work 
which proved that he was capable of grand 
composition and loftiness of style. In 147 3 
Antonello da Messina introduced at Venice 
the use of oil, and Giovanni, recognizing its 
advantages, laboured earnestly to enlarge 
the practice of the new medium. Constant 
improvement rewarded his efforts, until he 
at last painted his grand altarpiece, the Ma- 
donna with Saints, Venice Academy, which 
established his fame. After this he was 
chiefly employed until his death in painting 
in the Sala del Gran Consiglio in the Pa- 


131 


BELLINI 


lazzo Ducale, reserving, however, a right to 
accept private commissions. When at the 
height of his fame he had among his pupils 
Giorgione and Titian, who were to perfect 
the rich system of colouring of which he must 
be regarded as the true founder. Ruskin 
says of Bellini that he is the only artist who 
united, in equal and magnificent measure, 
justness of drawing, nobleness of colouring, 
and perfect manliness of treatment, with 
the purest religious feeling. Among Gio- 
vannis best works are: Transfiguration, 
Naples Museum ; Circumcision, Castle How- 
ard, England ; Madonna (1487), Madonna 
between SS. Paul and George, and the Ma- 
donna of the Admiralty Court, Venice Acad- 
emy; Madonna with Saints and Angels 
(1488), Sacristy of the Frari, Venice ; Ma- 
donna and Doge Barberigo (1488), S. Pietro 
Martire, Murano ; Baptism of Christ (1501), 
S. Corona, Vicenza; Madonna with Saints 
(1505), S. Zaccaria, Venice ; Madonna with 
Saints, Louvre. Early in the century Albert 
Diirer visited Venice, and a question after- 
ward arose whether he was influenced by 
Bellini or Bellini by him ; but it is doubtful 
if even Diirer could teach the Venetians any 
secrets of colour. Both he and Diirer had 
great respect for each other's talents, and 
were firm friends. Giovanni’s pictures in 
the Sala del Gran Consiglio were burned in 
the fire of 1577. While engaged upon 
them he painted but few other pictures; 
but there are a Madonna (1510) by him in 
the Brera, and a SS. Christopher, Augustin, 
and Jerome (1513), in S. Giovanni Crisos- 
tomo, Venice, the latter of which bears the 
impress of his assistant, Basaiti. In 1514 he 
began the Bacchanal, Alnwick Castle, Eng- 
land; and in 1515 he painted the Venus, 
Vienna Museum. His Portrait of the Doge 
Loredano, St. Peter Martyr, Christ's Ag- 


IOANNES BELLINVS 


ony in the Garden, Landscape with Martyr- 
dom of St. Peter, Madonna and Adoration 
of the Magi, are in the National Gallery, 


London.—C. & C., N. Italy, i. 139 ; Ch. Blane, 
Ecole vénitienne ; Seguier, 15 ; Dohme, 2iii.; 
Vasari, ed. Mil, iii. 149, 175 ; Ruskin, Stones 
of Venice; Meyer, Kiinst. Lex., iii, 400; 
Liibke, Gesch. ital. Mal., i. 523. 

BELLINI, JACOPO, born in Venice 
about 1400, died about 1464. Venetian 
school ; pupil of Gentile da Fabriano, whom 
he accompanied in 1422 to Florence, where 
he was known as Jacopo di Venetia. On 
account of a personal encounter with a 
young Florentine he took service on the gal- 
leys of the state. Criminal charges were pre- 
ferred against him in his absence, and on his 
return from sea he was imprisoned for con- 
tempt of court shown in non-appearance at 
the trial. He was released in 1425 after 
doing penance and paying a fine, and five 
years after was in Venice, as is proved by 
an autograph note in his sketch-book, now 
in the British Museum. He is afterward 
found in Verona, and later at Padua, where 
he established a studio, in which his sons 
Gentile and Giovanni worked, and where 
his daughter Nicolosia married Andrea 
Mantegna. Jacopo was a draughtsman of 
quick hand and clear perception, and though 
his knowledge of anatomy was not profound, 
he gave fair proportions to his heads. He 
held a middle course between the conven- 
tionalism of his predecessors and the natu- 
ralism or classicism of the rising schools ; 
indeed, he worthily began what his son Gio- 
vanni and Titian perfected. He can scarcely 
be judged as a colourist, for only two 
greatly injured panel pictures of his early 
time remain: a half length of the Virgin 
and Child in the collection of the Counts 
Tadini at Lovere, and another of the same 
subject in the Venice Academy. A Crucified 
Saviour on canvas in the Museo Civico, 
Verona, is a good illustration of his style. 
His Crucifixion on the wall in the Cathedral 
of Verona, painted in 1436, was destroyed 
in 1759, but is preserved in a copy in the 
Casa Albrizzi, Venice.—O. & C., N. Italy, i. 
100 ; Vasari, ed. Mil. iii. 149, 175 ; Meyer, 
Kinst. Lex., iii. 336. 


132 


. BELLOC 


BELLOC, JEAN HILAIRE, born at 
Nantes, Nov. 27, 1786, died in Paris, Dec. 
9, 1866. Genre and portrait painter ; pupil 
of Regnault and of Gros. Medal of Ist 
class in 1810, after which exhibited pictures 
in nearly every salon till 1850. Was di- 
rector of the free school of design in Paris 
more than forty years. L. of Honour, 
1846, Officer, 1864. Works: Death of Gaul 
(1810); Traveller in Egypt who has lost his 
Way (1812); Rest of Holy Family (1831) ; 
Death of St. Louis, (1838, ordered by State); 
Portraits of the Duchess de Berri (1824), 
Count Boissy d’Anglas (1830), of Michelet 
(1845), and many others.—Meyer, Kiinst. 
Lex., iii. 427 ; Larousse. 

BELLOSIO, CARLO, born in Milan in 
1805, died at Bellaggia, Sept., 1859. History 
painter ; pupil of Pelagio Palagi. He ad- 
hered to the classical style, but showed 
early a certain power of invention, and after 
1829, without deserting his school, strong 
individual talent. He excelled in fresco, 
but executed also many drawings and oil 
paintings. He was overtaken by death 
when about to execute a colossal painting 
for King Charles Albert, the Crossing of 
the Beresina, to prepare studies for which 
he had made a journey to Russia in 1845. 
Works: Scene from the Flood (1839-41), 
Institution of the Order of Annunciata 
(1842), Royal Palace, Turin ; Beheading of 
St. John, fresco (1830), S. Protaso, Milan ; 
Allegory, Casino della nobile Societa, Milan. 
—Meyer, Kinst. Lex., iii. 429. 

BELLOTTI, PIETRO, born at Volzano 
in 1627, died at Gangnano in 1700. Vene- 
tian school; pupil of Michele Ferrabosco, 
in Venice, where he went at twenty. He 
faithfully imitated nature with great minute- 
ness of detail, then very unusual. This, 
which made him a favourite portrait painter, 
is observable in his characteristic figures 
from low life, but in historical scenes he is 
not free from the mannerism of his time. 
He was much employed by foreign courts. 
Works: Half figure of Old Woman, Museo 
Civico, Venice ; Portrait of himself, Uffizi, 


Florence ; Old Woman, Madrid Museum ; 
do., Stuttgart Museum. — Meyer, Kinst. 
Lex., iii. 480 ; Zanetti, Pitt. Venez., 
513. 

BELLOTTO, BERNARDO, born in Ven- 
ice, Jan. 30, 1720, died in Warsaw, Oct. 17, 
1780. Venetian school; landscape and 
architecture painter ; nephew and pupil of 
Canaletto, by whose name he is sometimes 
known; went to Rome, probably about 
1740, afterwards to Germany; worked in 
Munich, and afterwards in Dresden, where 
he was employed by Count Brihl and be- 
came court painter to Augustus III In 
1758 he went to Vienna, and painted views 
of the city and the imperial palaces until 
1762, when he executed paintings for Au- 
gustus II. in Warsaw, before returning to 
Dresden, where he became a member of the 
Academy in 1764. About 1766 he is said 
to have visited St. Petersburg, and in 1767 
Warsaw, where he was court painter to 
King Stanislaus IL. in 1770. At first an im- 
itator of Canaletto, he developed later an 
independent style, marked by cool light 
effects and great clearness in architectural 
details. Works: Two Views of Turin, Tu- 
rin Gallery; Views of Varese, Brera, Milan ; 
Views in Vienna and of Schénbrunn, and 
Schlosshof, Ruins of Thebes, Hungary, Vi- 
enna Museum; Views of Kénigstein and 
Pirna, Liechtenstein Gallery, Vienna; View 
of Munich (probably also four Views in 
Venice, ascribed to Antonio Canaletto), 
Munich Gallery; Views in Dresden and 
Pirna, Venice, Verona, etc. (38), Dresden 
Gallery ; two landscapes, Berlin Museum ; 
Views in Venice (3), Cassel Gallery ; Views 
of Ducal Palace and Piazzeta in Venice, 
Darmstadt Gallery ; Ducal Palace in Venice 
(ascribed to 
Canaletto), 

Stidel Gal- ye ollol> 
lery, Frank- 

fort; View of the Brenta, Brussels Museum; 
two Views of Rome, Amsterdam Museum ; 
Rialto, Hermitage, St. Petersburg.—Meyer, 
Kinst. Lex., iii. 437. | 


133 


BELLOWS 


BELLOWS, ALBERT F., born at Mil- 
ford, Mass.; contemporary. Genre painter ; 
studied in Paris and at the Royal Academy 
of Antwerp, and painted in England and 
Wales. Elected an A. N. A. in 1859, and 
N. A. in 1861. In 1865 he visited England, 
where he turned his attention entirely to 
water colours. In 1868 was elected honorary 
member of the Royal Belgian Society of 
Water-Colourists. Studio in New York. 
Works in oil: Sorrows of Boyhood, First 
Pair of Boots, City Cousins, Lost Child, Ap- 
proaching Footsteps, Sunday in Devonshire 
(1876); New England Village School (1878); 
Parsonage (1879); Building Air Castles 
(1880); Bird Song (1881); Near the Head 
of Tide Water, Country Byway (1882); 
Godalming — Surrey, England, Hillside 
(1883). Works in water colour: Notch at 
Lancaster (1867); Afternoon in Surrey 
(1868); Borders of the New Forest, Surrey 
Byway, Dark Entry—Canterbury, Reaper’s 
Child, Study of a Head, New England 
Homestead, Devonshire Cottage, Autumn 
Woods, Village School (1878).—Tuckerman, 
486 ; Art Journal (1877), 47. 

BELLUCCI, ANTONIO, born at Pieve di 
Soligo in 1654, died there in 1726. Vene- 
tian school ; pupil of the amateur Domenico 
Definico, a nobleman of Sebenico, and 
formed himself afterwards after Sebastiano 
Bombelli and Antonio Zanchi. He worked 
in Treviso, Venice, Vicenza, and Verona, and 
in 1709 was called to Vienna by Joseph L, 
who made him court painter. He painted 
the Emperor's portrait, and was employed 
also under Charles VI., but especially by 
Prince Liechtenstein, whose palace he deco- 
rated. From Vienna he was summoned to 
Disseldorf, by the elector John William, 
after whose death, in 1716, he went to Eng- 
land, and painted for the court and several 
nobles. He seems to have returned to Italy 
soon after 1722, and in 1724 was also active 
again in Venice. He was one of the most 
prominent masters of the Venetian school 
before Tiepolo. Works: Marriage Cere- 
mony of the Elector John William, Danaé, 


Augsburg Gallery; Lot and Daughters, 
Solomon sacrificing to the Gods, Schleiss- 
heim Gallery ; Rebecca at the Well, Isaac, 
Finding of Moses, Pommersfelden Gallery ; 
Mary and Elizabeth, St. John, Nuremberg 
Museum ; Cupid and Psyche, Cupid and 
Venus, Munich Gallery; Venus feeding a 
Dove, Madonna, Dresden Gallery ; Rape of 
Helen, Rape of the Sabine Women, Cassel 


Gallery; 
4B. AS fit ae 


Groups of 

Children, 
Venus and Cupid, Liechtenstein Gallery, 
Vienna. —Meyer, Kinst. Lex., iii. q00% Nag- 
ler, Mon., i. 1785. 

BELLUCCI, GIUSEPPE, Cavaliere, bone 
in Florence in 1827, died there, Feb. 8, 
1882. History painter ; pupil of Bezzuoli 
and of Pollastrini; professor in Florence 
Academy ; Knight of Order of SS. Maurice 
and Lazarus. Works: Hagar, Paul before 
Poppa, Death of Alessandro de’ Medici 
(1865), Genoa Museum ; Emanuel Philibert 
arranging an Alliance between Savoy and 
France against Austria (1870), Royal Collec- 
tion ; Finding of Manfred’s Body (1880).— 
Kunst-Chronik, v. 145. 

BELLUNELLO, ANDREA, born at S. 
Vito, Friuli, flourished 1460-1490 in Udine 
and Friuli. Venetian school. A provincial 
master, with whom art in Friuli may be 
said to have begun. His altarpieces show 
hard outlines, bony figures, and heavy col- 
ouring. Works: Crucifixion (1476), Town 
Hall, Udine ; Madonna (1488 and 1490),— 
Meyer, Kiinst. Lex., iii. 485; C. & C., North 
Italy, ii. 176. 

BELLY, LEON ADOLPHE AUGUSTE, 
born at Saint-Omer, March 10, 1827, died 
in Paris, March 25, 1877. Landscape and 
portrait painter; pupil of Troyon and of 
T. Rousseau. Travelled in the East, and 
was one of the best French painters of Ori- 
ental life and scenery. Medals: 3d class, 
1857, 1867 ; 2d class, 1859 ; 1st class, 1861 ; 
L. of Honour, 1862. Works: Forest of 
Fontainebleau, Shell Fishers of Normandy 
(1855); Village of Ghiseh, Desert of Nas- 


134 


BELMONTE 


soub, Inundation of the Nile (1857); Plain 
of Ghiseh, Dyke on the Nile (1857); Even- 
ing in the Desert of Tyh, The Nile, Pilgrims 
to Mecca (1861), Luxembourg Museum ; 
View of a Harbour (1861), Strassburg Muse- 
um; Sackiés of Lower Egypt, Street in 
Cairo (1863); Fellahs drawing a Dahabieh 
(1864); Dead Sea (1866); Sirens (1867); 
Evening, Mahmoudieh Canal (1868); Relig- 
ious Festival in Cairo, Dorad Fishing (1869); 
Fairies’ Pond, The River Sauldre, Ruins of 
Baalbec (1874); A Pond, A Meadow, The 
Sauldre (1875); Montboulan Ford, Daha- 
bieh Aground (1877).—Bellier ; Larousse ; 
Meyer, Kiinst. Lex., ii. 436. 

BELMONTE Y VACOS, MARIANO, 
born at Cordova, Spain, died at Valencia 
in 1864. Landscape painter ; was professor 
in the art-schools of Cadiz and Valencia. 
Medals, 1858, 1860, 1862. Works: Casa 
de Campo at Madrid (1859), Grotto of Pa- 
lomas near Valencia (1865), Museo Nacional, 
Madrid.—Meyer, Kinst. Lex., 111. 437. 

BELOVED, THE, Dante Gabriel Rossetti, 
George Rae, Birkenhead, England ; canvas. 
Illustration of Song of Solomon. Five life 
size, three-quarters length female figures and 
a negro girl, the last in front of the group, 
bearing roses in a golden vase. The marriage 
procession has halted, and the bride, clad in 
apple-green silk, has removed the veil from 
her face and throat, while her companions 
press closely around her, forming a mass of 
glowing colour.—Atheneum, Oct., 1875, 
444; Jan., 1883, 93. 

BELSHAZZAR’S FEAST, Washington 
Allston, Museum Fine Arts, Boston, Mass. ; 
canvas, H. 12 ft. 6 in. x 18 ft. 6 in. Daniel 
interpreting the handwriting on the wall to 
Belshazzar at his feast (Dan., v.). In fore- 
sround, the king, queen, Daniel, and four 
magicians ; behind them a group of Jewish 
men and women, and beyond the banquet 
tables with many guests ; in distance on an 
elevated platform a golden statue of a god, 
with worshippers. Begun in England and 
brought, in 1818, to Boston, where it was 
purchased by several citizens for $10,000, 


part of which was advanced. Allston hoped 
to finish it in six months, but, on account 
of criticisms of Gilbert Stuart, determined to 
make a radical change in the perspective. 
It remained in his studio until his death, 
when it was left unfinished, his last week’s 
work having been spent on it.—Memorial 
Hist. Boston, iv. 395; Knickerbocker Mag., 
xxiv. 205 ; Tuckerman. 

BELTRAFFIO (Boltraffio), GIOVANNI 
ANTONIO, born in Milan in 1467, died 
there, June 15, 1516. Lombard school. 
Taught in the old Milanese school of Foppa 
and Civerchio, he came under the influence 
of the new founded by Leonardo da Vinci. 
His colouring is, however, brighter, and his 
contrasts of light and shade more vigorous. 
His best works are: Madonna of the Casio 
Family (1500), Louvre ; Madonna, Casa 
Poldi, Milan ; Madonna, Bergamo Gallery ; 
male portrait, Ambrosian Library, Milan, 
and two portraits at the Isola Bella. The 
portrait of the Maréchal de Chaumont, 
Charles d’Amboise, in the Louvre, by Bel- 
traffio, or Andrea Solario, has been attrib- 
uted to Leonardo da Vinci.—Vasari, ed. 
Mil., iv. 51; Burckhardt, 703 ; Miller, Ks- 
sai, 122; Rio, iii. 205; Ch. Blane, Ecole 
milanaise ; Liibke, Gesch. ital. Mal., ii. 446. 

BELTRANO, AGOSTINO, born at Na- 
ples, died there in 1665. Neapolitan school ; 
history painter; pupil of Massimo Stanzi- 
oni, married his fellow-scholar Aniella di 
Rosa, whom he stabbed in a fit of jealousy in 
1649, fled to France and returned to Naples 
in 1659. Was a good fresco painter, and 
a colourist in oil of considerable merit. 
Works: Legend of St. Biagio, S. Maria 
della Sanita, Naples ; Cupola, S. Maria della 
Donna Regina, ib.; Ceiling in a Chapel, 
S Maria la Nuova, ib.; three panels in oil, 
ib.—Meyer, Kiinst. Lex., i. 447. 

BEMBO, BONIFAZIO or FAZIO, of Cre- 
mona, died about 1500. Lombard school. 
In 1455 was in the service of Duke Fran- 
cesco Sforza, and in 1461-7 was among 
decorators of the palaces at Milan and Pavia. 
In 1467-8, painted in fresco portraits of 


1385 


BEMBO 


Duke Francesco, then deceased, and his | 


widow in S. Agostino, Cremona. His style 
was formed after that of Vittore Pisano, 
and Gentile da Fabriano.—C. & C., N. Italy, 
ii. 438 ; Vasari, ed. Mil., vi. 492 ; Calvi, Pro- 
fessori in Milano, 84, 95; Ch. Blane, Ecole 
lombarde. 

BEMBO, GIAN FRANCESCO, called II 
Vetrajo (the Glazier), died about 1526. 
Lombard school ; younger brother and pupil 
of Bonifazio Bembo ; probably studied later 
in Venice andin Rome. His Epiphany and 
Presentation in the Temple, painted about 
1516, in the Cremona Cathedral, were long 
ascribed to Bonifazio. Lanzi praises his 
Madonna and Saints, dated 1524, in S. Pie- 
tro, Cremona.—Lanzi, ii. 427; Vasari, ed. 
Mil., v. 147; Ch. Blanc, Ecole lombarde ; 
C. & C., N. Italy, ii. 454, 

BEMBO, PIETRO, portrait, Titian, Palaz- 
zO Barberini, Rome ; canvas, life-size, seen 
to elbows. In the red hat and dress of a 
cardinal. Painted in 1540.—Vasari, ed. 
Mil., vii. 455; C. & C., Titian, ii. 28 ; Burck- 
hardt, 718. 

BEMBO, PIETRO, portrait, Titian, Nardi 
Collection, Venice ; canvas, half length. 
Profile, bearded. Painted about 1537; rep- 
lica of an earlier one, now missing ?—Va- 
sari, ed. Mil., vii. 455; C. & C., Titian, i. 
418. 

BEMMEL, PETER VON, born in Nu- 
remberg, Aug. 18, 1685, died there in 1754. 
Landscape painter ; German school ; son and 
pupu, though not an imitator, of Wilhelm 
von Bemmel (1630-1708). He travelled 
much, and was held in repute, especially at 
Wiirzburg and Bamberg. Works: Sunrise, 
Sunset (Bamberg); three battle pieces, sev- 
enteen landscapes (Nuremberg); twenty 
landscapes (Wirzburg). His brother 
Johann Georg (1669-1723), also his sons, 
grandsons, and nephews, were all artists of 
more or less distinction.—Meyer, Kiinst, 
Lex., iii. 493 ; Fiorillo, iii, 369. 

BENARD, AUGUSTE SEBASTIEN, 
born in Paris in 1810. Horse painter ; pu- 
pil of Granger and of Lafond. Works: In- 


terior of Stable, Road in Normandy (1859); 
Stable Interior (1863); Military Funeral, 
Team Laden with Square Stones (1864); 
The Carrabas, Wagon of Fishmongers 
(1865); Military Funeral under Louis XII. 
(1867). : 
BENARD, HUBERT EUGENE, born at 
Bologne-sur-Mer, April 29, 1834. Genre 
and marine painter; pupil of Claudius 
Jacquand. Bronze medal, Rouen 1860. 
Works: Return from Fishing, Around Bou- 
logne-sur-Mer (1857), Close-of Oyster Fish- 
ing, Environs of Ambleteuse, Morning 
(Boulogne Museum); After Shipwreck, Ebb- 
Tide, Unloading of Fishermen’s Boats 
(1859); View of Houses of Parliament, Lon- 
don (1863); Return from Fishing on Coast 
of Normandy (1864); Burial of Shipwrecked 
(1865); Saving on the Sea, Mouth of Thames 
(1866); Steamship arriving at Boulogne 
During a Storm (1868); Before the Depart- 
ure, In the Harbour of Boulogne (1867).— 
Meyer, Kiinst. Lex., iii. 497. 
BENASCHI  (Beinaschi), GIOVANNI 
BATTISTA, Cavaliere, born in Turin in 
1636, died there, Sept. 28, 1688. Pupil of 
the portrait painter Spirito, in Turin, and of 
Pietro del Pé, in Rome, where he made draw- 
ings after the frescos of the Carracci. He 
is said to have visited Modena to study the 
works of Correggio. His best pictures 
show graceful action, but the colouring is 
dull and heavy. The fresco style of Lan- 
franco had the most lasting influence upon 
his manner.—Meyer, K iinst. Lex., 111. 497, 
BENASSAI, GIUSEPPE, born at Reg- 
gio, Calabria, July 29, 1835, died in Flor- 
ence, Dec. 5, 1878. Landscape painter ; 
pupil, in Reggio, of Cavaliere Lavagna, then 
in Naples of Fergola, but soon returned to 
Reggio, and in 1857 went to Rome, where 
he continued his studies independently. 
After his return home he executed many 
works, and in 1863 settled in Florence. 
Visited Egypt in 1869. Works: Torrente 
di Melito, Souvenir of Lago Maggiore, 
Feudal Boundaries, Arrogance and Virtue, 
The Friendless (1859-63) ; Among Flowers, 


136 


BENCI 


Among Thorns (1863-64); Hay Harvest 
(1865); Marshes of Ostia (1867); Repose 
(1868); Aspromonte (1868); Suez Canal, 
Lion of the Desert, Arrival of Arab Mer- 
chants at Ghizeh, Bedouin Tents at Ismailia, 
View of the Pyramids, The Nile near Hle- 
phantiné, Sunset in the Desert (1869); 
Camel Buyers at Cairo, Rest in a Palm 
Grove, Rest in the Plain of Sivert, Caravan 
in the Desert, Sycamores of Upper Egypt. 
—Meyer, Kinst. Lex., i. 498. 

BENCI, GINEVRA. See Jonaca, La. 

BENCZUR, GYULA (Julius), born at 
Nyiregyhaza, Hun- saree 
gary, Jan. 28, 1844. ff Cove 
History painter ; pu- ae 
pil, from 1861, of Mu- 
nich Academy under 
Hiltensperger and 
Anschiitz, then in 1869 
of Piloty ; travelled in 
Austria-Hungary, 
Southern Germany, 
France, and Upper It- 
aly ; though invited to 
Weimar and Prague, preferred to settle at 
Munich, where he became instructor in 1875 
and professor in 1880 in the Academy ; now 
director of Pesth Academy. Works: Fare- 
well of Ladislaus Hunyady (1867), Pesth 
Museum ; Arrest of Rakéczy in 1701 (Johns- 
ton sale, New York, 1876, $3,750) ; Scene 
from Hamlet (1869); Louis XV. in the 
Boudoir of Dubarry ; Family of Louis XVI. 
during the Assault on Versailles (1872), D. 
O. Mills, New York; Baptism of St. Stephen 
(1875), Pesth Museum; Ladies resting in the 
Woods, The Almsgiver (1877) ; Bacchante 
(1881); Deserted, Hungarian Insurance Con- 
vention in 1857 (1883).—Meyer, Kiinst. Lex., 
ili. 502 ; Miller, 40 ; Kunst-Chronik, iv. 86, 
vi, 113, ix. 437, 492, xi. 370, 531, 563, xii. 
709 ; Illustr. Zeitg. (1878), 211; (1881), i. 8. 

BENDEL, HANS SIGMUND, born at 
Schaffhausen, Oct. 18, 1814, died there, 
Novy. 28, 1858. History and genre painter ; 
pupil in Munich of Kaulbach and Schlott- 
hauer ; visited the Tyrol in 1887 and Italy 


in 1838, and took part in the Swiss cam- 
paign of 1847. Best known by his de- 
signs for illustrated works. Works: Four 
Scenes from Swiss History (1852-53); Ilus- 
trations to Goethe and Schiller Gallery, to 
Hebel’s Poems and to Pestalozzi’s Lienhard 
and Gertrud.—Meyer, Kiinst. Lex., iii, 503. 

BENDEMANN, EDUARD (JULIUS 
FRIEDRICH), born 
in Berlin, Dec. 3, 1811. 
History and portrait 
painter; pupil of 
Schadow, whom he 
followed to Diissel- 
dorf in 1827 and to 
Italy in 1830. After 
his return he at once 
established his fame 
by his Jews in Exile 
(1832, Reichartz Gal- 
lery, Cologne); obtained the great gold med- 
al in Paris, in 1836, and after living for two 
years in Berlin was appointed professor at 
the Dresden Academy. Between 1840 and 
1855, he decorated the throne and ball- 
rooms at the royal palace in Dresden with 
frescos. In 1859-67 he was director of the 
Diisseldorf Academy, where (1861-66), as 
well as at Naumburg and Berlin, he painted 
several monumental works. He is member 
of many German Academies, and of the In- 
stitut de France, has had the degree of 
Doctor conferred upon him by the philo- 
sophical faculty of the Berlin University, 
and is decorated with many medals and 
orders. Works: Boaz and Ruth (1830); 
Girls at Well (1833); Servian Princesses 
(1834) ; Jeremiah among the Ruins of 
Jerusalem (1836), Royal Palace, Hanover; 
Harvest (1836); Shepherd and Shepherdess 
(1845); Jeremiah at the Fall of Jerusalem 
(1872), National Gallery, Berlin ; Penelope 
(1877), Antwerp Academy ; Three Caravan 
Scenes (1880); Sacrifice of Iphigenia (1882); 
Emperor Lothair, Romer, Frankfurt ; Por- 
trait of Artist’s Wife (1847), Portraits of 
Heinrich Brockhaus (1851), W. Schadow 
(1861), Antwerp Academy; Prince Anton 


137 


BENDEMANN 


von Hohenzollern (1864), Sigmaringen Cas- 
tle ; Jos. Joachim (1868, Berlin, and 1870, 
London), Rob. Reinick (1873), Gen. von 
Obernitz and Wife (1877), portrait of him- 
self (1879), Antwerp Academy.—TIllustr. 
Zeitg. (1874), i. 66; (1882), i. 91; Meyer, 
Kiinst. Lex., i. 504; Wolfg. Miller, Diis- 
seldf. K., 29; Kugler, Kl. Schriften ; Kunst- 
Chronik, i. 1382 ; Pecht, i. 261. 

BENDEMANN, RUDOLF, born in Dres- 
den, Nov. 11, 1851, died at Pegli, near 
Genoa, in May, 1884. History and genre 
painter ; pupil of the Diisseldorf Academy 
under his father, Eduard ; was in Munich in 
1877-79, then visited Egypt. Works: 
Frithiof and Ingeborg (1874); frieze paint- 
ings (1876), National Gallery, Berlin ; 
Nymph (1877); Beer-Sale (1878); Burial of 
Frauenlob, Festival in 16th Century, Lute- 
player (1879); Tavern Scene in Bavaria 
(1880); Procession in Cairo, Well in Egypt 
(1881).—Meyer, Kinst. Lex., iii, 511; 
Kunst-Chronik, xix. 516. 

BENDZ, VILHELM FERDINAND, born 
at Odense, Denmark, March 20, 1804, died 
at Vicenza, Noy. 14, 1832. Genre and por- 
trait painter ; pupil of Copenhagen Acad- 
emy under C. V. Eckersberg, where he won 
several prizes ; studied in Munich 1831-32, 
visited Tyrol, died on his way to Rome. 
Works: Model School at the Academy, 
Artist looking at Sketch in Mirror (1826), 
Sculptor working from Life Model (1827), 
Copenhagen Gallery ; Beggar Woman and 
Child, Portraits of Frederic VIL, Christian 
IV. in Battle of Femern (1828).—Weilbach, 
52. 

BENEDETTO, IL. See Castiglione, Gio. 
Benedetto. 

BENEDICT, ST., Paolo Veronese, Pitti, 
Florence ; canvas, H. 6 ft. 6 in. x4 ft. 6 in. 
St. Benedict, in episcopal robes, standing 
between Placidus and Maurus, his disciples ; 
in front kneel five nuns, one of whom bears 
a tiara ; another, St. Scolastica, has a dove at 
her feet ; above, like a glory, the marriage 
of St. Catherine. Engraved by G. Bonatti. 
—Gal. du Pal. Pitti, iv. Pl. 20. 


BENEDICTER, JOSEF, born at Fischin- 
gen, Wiirtemberg, June 4, 1843. Architec- 
ture painter ; pupil, from 1863, of Munich 
Academy, lastly under Alex. Wagner, until 
he joined in the campaign against France, 
in 1870. After the war he went to Holland, 
and in 1876 visited Florence, Rome, and 
Naples. His paintings and his cabinet pict- 
ures are masterly in technic and effect. 
Works: Portal of Town Hall in Rothenburg 
(1869); View in Heidelberg Castle (1872) ; 
Young Green-Grocer, Roman Portal, Gothic 
Cloister (1873); Peasant’s Room in Sunlight 
(1879); Kitchen in Castle Neuenstein, 
Tinker (1881); Alone at Home (Wm. Astor, 
New York); Cradle (J. T. Martin, Brook- 
lyn); Rural Interior (D. O. Mills, New 
York).—Meyer, Kiinst. Lex., iii. 526. 

BENEFIAL, MARCO, Cavaliere, born in 
Rome in 1684, died there, April 2, 1764. 
Roman school ; pupil of B. Lambert ; began 
to exhibit in 1703. After his marriage in 
1707 met with a series of privations, and 
was obliged to associate himself with one 
Germisoni, a mediocre but busy painter, 
and, for a share of the profits, do the greater 
part of the work. In 1718 he received an 
order from Pope Clement XL, followed by 
others from different churches, which bet- 
tered his situation. In competition with 
Domenico Muratori he painted, in 1731, his 
most important work, the Flagellation of 
Christ. For a short time he was professor at 
the Accademia di S. Luca. Having become 
blind, he depended, during his last years, on 
the charity of his patron, Count Soderini.— 
Meyer, Kinst. Lex., iii. 531; Lanzi (Ros- 
coe), i. 511. 

BENFATTO, LUIGI (Alvise), called Dal 
Friso, born at Verona in 1559, died at Ven- 
ice in 1611. Venetian school; history 
painter ; nephew, and for many years in the 
studio of Paolo Veronese, whom, in the out- 
set, he copied even to servility ; afterwards 
gave himself up to an easy and rapid style 
of composition. Works: Constantine’s 
Dream before the Battle with Maxentius, 
God the Father with Angels and Evangelists, 


138 


BENJAMIN 


Six Scenes in Life of Christ, S. Niccold de’ 
Mendicanti, Venice; Christ before Pilate, 
Last Supper, S. Luca, ib. Several in other 
churches, ib.—Meyer, Kiinst. Lex., iii, 533. 
BENJAMIN-CONSTANT, JEAN JO- 
SEPH, born in Par- = 
is, June 10, 1845. 
Genre painter ; pu- 
pil of Cabanel and 
of Ecole des Beaux 
Arts; usually paints 
Oriental subjects. 


Medals: 3d_ class, 
1875; 2d class, 
1876; 38d _ class, 
1878; L. of Hon- 


our, 1878; Officer, See! 
1884. Works: Hamlet and the King (1869); 
Too Late (1870) ; Samson and Delilah 
(1872); Women of Riff, Moorish Butchers 
at Tangiers (1873); Street Corner in Tan- 
giers, Square in Tangiers (1874); Morocco 
Prisoners (Fletcher Harper, New York; 
sold in 1884 for $1,400); Women of Harem 
in Morocco (1875); Entrance of Mohammed 
II. into Constantinople, May 29, 1453 
(1876); Thirsty Prisoners in Morocco, 
Harem in Morocco (1878); Terraces at 
Evening, Emir’s Favourites (1879); Last 
Rebels (1880), Luxembourg Museum ; Ca- 
liph’s Recreations, Herodias (1881); Christ 
in the Tomb, Day after Victory at the Al- 
hambra (1882); Tahamy the Caid (1883) ; 
Les Chérifas (1884) ; Justice of the Chérif 
—Moorish Spain in 15th century (1885). 
Portraits of Emmanuel Arago and others. 
BENJAMIN, SAMUEL GREEN 
WHEELER, born at Argos, Greece, in 
1837, son of an American missionary to the 
Levant. Landscape and marine painter ; 
studied drawing and water-colour painting 
with Carlo Brindisi of the Spanish and Ital- 
ian school; came to America and became a 
pupil of S. L. Gerry and W. E. Norton. 
Professional life spent in Boston and New 
York. Mr. Benjamin has illustrated many 
works of which he is author, and at one 
time contributed to the Illustrated London 


News. Is at present (1885) United States 
Minister to Persia. Works: Porta da Cruz 
—Madeira (1876), Philadelphia ; Gibraltar, 
Pico Azores, White Island, Marine Gallery, 
London ; Daybreak off the Corbieu, After 
the Storm, On the Breakers, Twilight on 
the Grand Banks (1879); Shark’s Nose— 
Maine (1880); Among the Breakers (1881); 
Stormy Sunrise—Manchester by the Sea 
(1882). 

BENKERT, EMERICH MARIA, born in 
Vienna, March 27, 1825, died there, Jan. 21, 
1855. Genre, landscape, and _ portrait 
painter; pupil of Academy of Design, 
Pesth, then in Vienna of Schrédl and Wald- 
miller. Works: Poachers on the Track 
(1850); Temptation, Alpine Herdswomen 
find a Dead Huntsman, Sermon (1851); 
Chamois Hunt, Rest, Mother’s Love, Love’s 
Sacrifice (1852); Adventure in the Moun- 
tains, Mist, View in Styria, Expectation, 
Ideal Landscape (1853); A Puszta (1854); 
numerous portraits ; Artist’s Portrait, Na- 
tional Gallery, Pesth.—Meyer, Kiinst. Lex., 
ili. 588 ; Wurzbach, i. 276. 

BENNER, EMMANUEL, born at Mul- 
house, Alsace, in March, 1836. Genre, 
portrait, and still-life painter ; pupil of Hick. 
Medal, 3d class, 1881. Works: Game and 
Fruits (1868) ; Guitar Player (1873); Rev- 
erie, Rubinello (1874); Abandoned (1875); 
Madeline, The Captives (1876); Venus and 
Adonis, Family of the Stone Age (1877); 
Lacustral Family (1878); Bathers, Swans 
(1880); Repose (1881); Three Graces (1883); 
Innocence (1884); Nymphs (1885). 

BENNER, JEAN, born at Mulhouse, Al- 
sace, in March, 1836. Genre, portrait, and 
still-life painter ; twin brother of Emmanuel 
B.; pupil of Eck and of Pils. Medal, 2d 
class, 1872. Works: Petite Falle de Capri, 
Flowers and Fruits (1868); Margherita, 
Luisella (1870); After a Storm at Capri 


(1872); After 

Baptism, New 

Year’s Serenade JEAN BENNER 
(1874); Trappist in Prayer (1875) ; Athe- 
nian Women surprised by the Pelasgi of 


139 


BENNET 


Lemnos (1876); Briseis and Patroclus (1878); 
Street at Capri (1880); Carmela, House at 
Capri (1881); Girls going to the Fountain 
(1882); Peonies, Alsacian Girl (1883); Belle 
of Scio, Poppies (1884); Poppies (1885). 

BENNET, KARL STEFAN, born in 
Sweden, May 26, 1800, died in Stockholm, 
March 27, 1878. Landscape and genre 
painter ; studied in Italy, and became mem- 
ber of Stockholm Academy in 1840. Works: 
Homage to Charles XIV.; Military Review at 
Ladugirdsgirdet ; Unveiling of Equestrian 
Statue of Charles John (1854); several 
of his best works in National Museum, 
Drottningholm.—Meyer, Kiinst. Lex., iii 
539. 

BENNEWITZ VON LOFEN, KARL, 
born at Thorn, Nov. 15, 1826. Landscape 
painter ; pupil of Schirmer in Berlin and of 
Albert Zimmermann in Munich. After 
travelling in the Tyrol, Upper Italy, South- 
ern France, and Scotland, he settled in 
Berlin (1856), and painted many picturés 
now in private collections. Works: Fish 
Pond before Sunrise, Wood Path, Beech 
Wood on Rigen, Village in Brandenburg, 
Wood Interior, Spring in Brandenburg, 
‘Autumn Fog, On the Heath, Outlook 
on Baltic Sea.—Meyer, Kiinst. Lex., iii. 
540. 

BENOUVILLE, ACHILLE (JEAN), born 
in Paris, July 15,1815. Landscape painter ; 
pupil of Picot ; won in 1845 the grand prix 
de Rome (landscape) for his Ulysses and 
Nausicaa. Long resident at Rome, where 
he painted many pictures of the Campagna 
in oil and water-colour, remarkable for their 
local truth and elegance in design. Medals: 
3d class, 1844; 1st class, 1863 ; L. of Honour, 
1863. Since 1867 he has resided in Paris. 
Works: Etruscan Tombs at Sutri in neigh- 
bourhood of Velletri ; St. Peter’s ; Tivoli ; 
Torre de’ Schiavi; The Via Nomentana, C. 
C. Perkins, Boston ; Castel Fusano; Colise- 
um seen from the Palatine (1870); Pic du 
Midi (1872), Mrs. A. T. Stewart, New York ; 
Chateau de Lugagnan (1873); After the 
Bath (1883); Border of PAumance, Via No- 


mentana (1884); Ford of Malavaux, Cascade 
of l’Ardoisiére (1885).—Gaz. des B. Arts, xvi. 
285 5 xvi be: 

BENOUVILLE, (FRANCOIS) LEON, 
born in Paris, March 30, 1821, died Feb. 
19, 1859. History and portrait painter ; 
brother of Achille B.; pupil of Picot ; won 
in 1845 the grand prix de Rome (history) 
for his Jesus in the Judgment Hall. His 
portraits are remarkable for truth and sim- 
plicity of action. Medals: 2d class in 1852 
and 1855, Ist class in 1853; L. of Honour, 
1855. Works: Mercury and Argus (1839); 
Hermit and Slothful Knights (1841); Judith 
(1844); Esther (1845); Christian Martyrs 
(1852); Francis of Assisi Dying (18583), 
Louvre ; two Pigeons, Raphael meeting the 
Fornarina, Poussin on the Tiber (1857); St. 
Clara receiving the Body of St. Francis, 
Joan of Are (1859); Portraits of Queen 
Hortense, Napoleon, Artist’s Wife and two 
Daughters.—Ch. Blanc, Ecole francaise ; 
Meyer, Gesch., 399. 

BENOZZO. See Gozzoli. 

BENSA, ALEXANDER VON, Ritter, 
born in Vienna, July 15, 1820. Genre and 
battle painter, self-taught, imitates, to a cer- 
tain degree, A. von Pettenkofen ; painted 
the figures in Ad. Obermiillner’s North Pole 
cycle. Many of his works were bought by 
the Emperor of Austria; several are in the 
Duke of Coburg’s collection in Vienna. 
Works: Retreat from Kéniggratz, Skir- 
mish at Schweinschedl, Battle near Tannen- 
berg, Hungarian Market, On the Puszta, 
Hungarian Election Scene.—Meyer, Kiinst. 
Lex., iii. 553. 

BENSO, GIULIO, born in Pieve del Tecco, 
about 1601, died in Genoa in 1668. Geno- 
ese school; pupil of Gio. Battista Paggi ; 
excelled in architecture painting and in 
perspective. Several works in fresco in 
Annunziata del Gustato, Genoa, and in 
S. Antonio, Pieve del Tecco. Was also an 
architect and an engraver.—Lanzi, 111. 262 ; 
Ch. Blane, Ecole génoise. 

BENSON, EUGENE, born at Hyde Park, 
New York, in 1839, Figure and genre 


140 


BENT 


painter ; pupil of National Academy and of J. 
H. Wright, later studied in Paris and Venice. 
Has lived and painted in New York, Paris, 
Venice, and Rome ; and sketched in Egypt 
and Syria. Hlected an A. N. A. in 1862. Stu- 
dio in Florence since 1871; in Rome in 
1883. Works: Cloud Towers, Strayed 
Maskers, (1873); Interior of St. Mark’s— 
Venice ; Reverential Anatomist (1876), St. 
Luke’s Hospital, New York; Bazaar at 
Cairo, Hay Boats, Peasants of Cadore at 
Religious Worship, Market-Place— Egypt 
(1877); Study of Girl in Blue, Suydam Col- 
lection, National Academy ; Hashish Smok- 
ers—Jerusalem, Slave’s Tower (1878) ; 
Thoughts in Exile, Mrs. M. O. Roberts, 
New York; Reverie; Making the Best of 
It, Artists’ Fund Society; Dead Calm on the 
Hill; Fire-Worshippers (1879) ; Mountain 
Torrent (1881) ; Distinguished Company in 
Titian’s Garden, State Secret in Venice 
(1882); Spring, Art and Love, Afternoon 
on the Lagoon, Ariadne (1883). 

BENT, JOHANNES VAN DER, born 
in Amsterdam about 1650 (?), died in 1690. 
Dutch school ; landscape painter ; pupil of 
Philips Wouwerman and of Adriaan van 
de Velde, but appears rather as a follower 
of Berchem. Works: Italian Landscape 
with Shepherds, Rotterdam Museum ; Land- 
scape with Span of Oxen, Stockholm Mu- 
seum; two Landscapes with Figures and 
Cattle, Hermitage, St. Petersburg. By P. 
Bent, otherwise unknown, an Annuncia- 
tion to the Shepherds, in the Brunswick 
Gallery.—Meyer, Kunst. Lex., iii. 556; Rie- 
gel, Beitrage, ii. 283. 

BENTELE, FIDELIS, born at Tettnang, 
Wirtemberg, April 8, 1830. History paint- 
er; pupil of Munich Academy, and, under 
Bernhard Neher, of Stuttgart Art-school, then 
studied in Italy, 1856-59. Since 1865 profes- 
sor of drawing at the school of architecture 
in Stuttgart. Works: The Good Samari- 
tan, Allegory on Poetry and Music, Stuttgart 
Gallery ; others in churches at Stuttgart, 
Cannstatt, Ravensburg, Tettnang, etc.— 
Meyer, Kiinst. Lex., iii. 557. 


BENTELE, MAX, born at Lindenberg, 
Bavaria, July 20, 1825. History painter ; 
pupil of Munich Academy, under Zimmer- 
mann, Schlotthauer and H. von Hess, then 
under Schnorr and Schwind; in 1850-52 
painted under Schraudolph seven frescos 
in the cathedral at Speyer, and in 1861-63 
under Steinle in the staircase of the Co- 
logne Museum. Works: Ascension (1864); 
Twelve Apostles (1865); Coronation of the 
Virgin (1868-69) ; Peter tending the Flock, 
Delivery of the Keys, and three other pic- 
tures (1872-73); Ascension (1874); Altar- 
piece (1878) ; two Ceiling-Paintings (1881) ; 
Glorification of Christ (1882). — Meyer, 
Kiinst. Lex., iii. 557. 

BENTIVOGLIO, GUIDO, Cardinal, por- 
trait, Anton Van Dyck, Palazzo Pitti, Flor- 
ence ; canvas, H. 6 ft. x4 ft. 3 in.; signed, 
dated 1623. Full length, in cardinal’s robes, 
seated in an arm-chair before a table, holding 
a paper with both hands. One of the painter’s 
masterpieces. Carried to Paris; restored 
in 1816. Engraved by Piccianti; Meys- 
sens ; and in bust by J. Morin; Masquelier 
fils. Etched by Gaujean (1882).—Smith, 
il. 46 ; Guiffrey, 54; Filhol, iv. Pl. 245. 

BENVENUTI, GIO. BATTISTA. 
Ortolano. 

BENVENUTI, PIETRO, born at Arezzo, 
Jan. 8, 1769, died in Florence, Feb. 3, 1844. 
History painter; studied in Florence after 
Andrea del Sarto and in Rome after Raphael; 
adhered in his early works to manner of 
David, but developed an independent style, 
and, with Camuccini, was looked upon as one 
of the first of modern Italian painters. Lived, 
after 1805, in Florence, where he became 
director of the Academy. Works: Judith 
with Head of Holofernes, Arezzo Cathedral ; 
Ugolino (1822); Death of Priam, Oath of 
the Saxons after the Battle of Jena, Delphic 
Sibyl, Death of St. Chrysogonus, Ravenna 
Cathedral. Works in fresco: Myth of Her- 
cules, Palazzo Pitti, Florence; Scenes from 
Old and New Testament, Chapel of S. Lo- 
renzo, Florence. — Meyer, Con. Lex., iii. 
182, 


See 


141 


BENZ 


BENZ, SEVERIN, born at Marbach, 
St. Gall, Switzerland, March 14, 1834. His- 
tory, portrait, genre and landscape painter ; 
pupil of Munich Academy, under Anschiitz 
and Piloty, then made a study trip to Ven- 
ice and North Italy. His religious paintings 
are elevated in conception and brilliant in 
colour. Works: Christ Appearing to Mag- 
dalen (1857); Bandits in Ambush, Mother's 
Happiness (1862); St. Joseph, Madonna, 
Resurrection (1863) ;. Come, ye that are 
heavy-laden! Descent from the Cross 
(1866); Crucifixion, Christ and the Woman 
of Samaria (1869); Landscape at Wallensee ; 
Flight into Egypt (1879); Christ on the 
Cross (1883). In fresco: Siege of Carmagn- 
ola by the Elector Max Emanuel in 1691 
(1865), National Museum, Munich.—Meyer, 
Kiinst. Lex., 11. 565. 

BENZON, CHRISTIAN ALBRECHT 
VON, born in Copenhagen, June 11, 1816, 
died in Paris, Sept. 30, 1849. Historical and 
genre painter; pupil of Copenhagen Acad- 
emy ; went to Diisseldorf in 1840 or 1841, 
to Paris in 1845, where he received a gold 
medal from Louis Philippe. Works: Last 
Confession (1842); Sinner on his Deathbed, 
Death of Don Juan; Death of St. Canut 
(1844); Norman Chief taking Italian City 
(1846); Louis IV. of France recognizing at 
Rouen Richard I. and Descendants as Dukes 
of Normandy, Town Hall, Rouen.—Weil- 
bach, 56. 

BERANGER, ANTOINE, born in Paris, 
May 19, 1785, died at Sevres, April 21, 
1867. History, genre, and portrait painter ; 
studied under several masters, and was one 
of the best artists of the older school. For 
years employed at the porcelain factory at 
Sevres, and contributed largely to its ce- 
lebrity. Medals: 3d class, 1839 ; 2d class, 
1840; L. of Honour, 1841. Works: Wo- 
man and Children at Husband’s Grave 
(1814); Autumn (1819); Wandering Musi- 
cians ; Rural Wedding (1822); Seduction 
(1824); Susanna (1827); Young Shepherd 
Asleep, Wounded Traveller (1833); Prisoner 
(1835); Old Man interpreting a Holy Book 


to a Young Girl (1836); Music Lesson 
(1837); Return to the Country (1838); 
Christ Asleep (1839); Consequences of Se- 
duction (1840); Guardian Angel (1846) ; 
Peasant Family (1849); The Rich and Poor 
Children (1852); Children Surprised by 
Rain (1853); Sleep, The Professor (1857); 
Repentant Fisherman, Fruit-Seller (1859). 
His daughter Susanne Estelle (Mme. Apoil), 


distinguished herself as a flower and fruit 


painter. Medal, 2d class, 1858.—Meyer, 
Kiinst. Lex., 11. 570 ; Larousse, 11. 563. 
BERANGER, CHARLES, born at Sévres, 
Nov. 21, 1816, died in Paris, May 15, 1853.. 
Still-life, animal, genre, and portrait paint- 
er; son of preceding ; pupil of Ecole des 
Beaux Arts and of Delaroche. Medals: 3d 
class, 1839 ; 2d class, 1840. Works: Kitch- 
en Interior (1837); Scene in Life of Hen- 
riette of France (1839); Peasant Woman at 
the Well, Maid watering Horse, Laundress 
(1840); Fruit-seller’s Booth (1842); View of 


Marché des Jacobins, Dog Portraits (1846); - 


Dog and Game (1848); Dogs Running, 
Working Horses, Child with Chickens 
(1851); Two Roosters (1853).—Meyer, Kiinst. 
Lex., iii. 571. 

BERANGER, EMILE (JEAN BAPTISTE 
ANTOINE), born at Sevres, Aug. 30, 1814. 
Genre painter ; brother of preceding ; first 
employed in decorating porcelain at Sevres 
with his father, Antoine B. His favourite 
subjects are young women of the working 
class in pretty costumes, fresh and clear in 
colour. Medals: 3d class, 1846; 2d class, 
1848. Works: Simon Memmi painting 
Laura (1840); Seamstress, Young Girl 
boiling Milk (1846); Day after the Ball, 
Reading Lesson, Hiding a Letter (1848); 
Order and Disorder (1863); First Joys 
(1864); The New Maid (1866); Hopeful 
Lad (1868); Young Mother, Wm. H. Van- 
derbilt, New York; Bouquet, C. Parsons, 
St. Louis; Voice of the Shell, T. Dolan, 
Philadelphia ; Fair Oyster-Opener, Glass of 
Lemonade, Where has it Gone? Mrs. R. L. 
Stuart, New York; Consoling the Widow, 
C. P. Huntington, New York; Madam’s 


142 


es 


BERAUD 


Robes, Madam’s Chocolate, J. Hoey, New 
York. 

BERAUD, JEAN, born in St. Petersburg, 
of French parents ; contemporary. Genre 
and portrait painter ; pupil of Bonnat. Med- 
als: 3d class, 1882 ; 2d class, 1883. Works: 
Leda (1877); Soirée (1878) ; Condolences 
(1879); Public Ball (1880); Montmartre 
(1881) ; The Intermediary, The Vertigo 
(1882); The Brewery, The Prayer (1883); 
Les fous (1884); portrait of Coquelin (1885). 

BERCHEM (Berghem), CLAAS (Nicolaas) 
PIETERSZ, born 
in Haarlem, bap- 
tized Oct. 16, 
1620, died in Am- 
sterdam, Feb. 18, 
1683. Dutch 
school; land- 
scape, animal, his- 
tory, and portrait 
painter; son and. ? 
pupil of Pieter 
Claasz; pupil of J. van Goyen, N. Moyaert, 
P. de Grebber, Jan Wils, whose daughter 
he married, and J. B. Weenix. In June, 
1642, he entered the guild in Haarlem, 
where he worked until 1670, having prob- 
ably visited Italy in 1648-55, and finally 
settled in Amsterdam. His early pictures 
resemble the works of Weenix, but his later 
ones, representing landscapes enriched with 
architectural ruins and charming groups of 
figures and cattle, are original and interest- 
ing. His historical and mythological pict- 
ures are not so successful. He was a good 
etcher. Works: Landscape with Ruin, and 
three others, National Gallery, London ; 
Winter Landscape, and six others, Am- 
sterdam Museum; Pastoral (1648), Wild- 
Boar Hunt, Italian Ford, Convoy Attacked, 
Hague Museum ; Rocky Landscape, and ten 
others, Louvre ; several in Munich Gallery ; 
do, Dresden Gallery ; Shepherds and Cattle, 
Woman on Donkey, Vienna Museum ; 
Winter Landscape with figures, three others, 
Berlin Museum; Halt of Hunters, Rape of 
Europa (1656), thirteen others, Hermitage, 


St. Petersburg.—Allgem. d. Biogr., 11. 350 ; 
Ch. Blane, Ecole hollandaise ; Brockhaus, ii. 
820; Dohme, 1. ii.; Kugler (Crowe), 11. 446 ; 


Bhi fF 
4. %, oF B 


Meyer, Kiinst. Lex., iii. 573; Riegel, Bei- 
trige, ii. 375; Van der Willigen, 76. 

BERCHERE, NARCISSE, born at 
Etampes (Seine et Oise), in 1822. Land- 
scape painter; pupil of Renoux and of Ré- 
mond. Paints Oriental scenes with great 
truth to nature; good in composition, 
drawing, and colour. Medals: 3d class, 
1859, 1861, 1864, 1878; L. of Honour, 
1870. Works: a Caravan caught in a Si- 
moom, Colossus of Memnon (1859); Cara- 
van crossing the Desert, Temple of Her- 
montis (1861); Twilight in Lower Nubia 
(1864), Luxembourg Museum ; Mouth of the 
Nile at Lesbeh (1870); three Views on the 
Nile (1875); Mahalet-el-Kebir (1876); The 
Nile between Cairo and Isle of Rodah, View 
at Thebes (1878).—Larousse ; Meyer, Kiinst. 
Lex., iii. 582. 

BERCK-HEYDE (Berk Heyde), GER- 
RIT, born at Haarlem, baptized June 6, 1638, 
died there, June 10, 1698. Dutch school; 
landscape and architecture painter; pupil 
probably of Frans Hals, and of his elder 
brother, Job B., whom he accompanied to 
Cologne and Heidelberg, where they were 
employed for some time at the court of the 
Elector Palatine. Master of Haarlem guild 
in 1660. Works: View of Amsterdam 
(1668), Antwerp Museum; Old City Hall 
(1677), View of the Spaarne at Haarlem, 
three Views of Old City Hall (one dated 
1604), Landscape with Castle Egmond, Am- 
sterdam Museum; View of Cologne, Kot- 
terdam Museum ; two Views in Amsterdam, 
Stidel Gallery, Frankfort ; Flock of Sheep 
driven through Gate, Cassel Gallery; View 
of the Dam (1689), Kunsthalle, Carlsruhe ; 


143 


BERCK 


View of Heidelberg Castle, Copenhagen Gal- 
lery ; View at The Hague, Berlin Museum ; 
two Views in Amsterdam (one dated 1665), 
do. in Cologne and Bonn, Schwerin Gallery ; 
Square before Ancient Buildings, Hunting 
Party, Dresden Gallery ; View in Haarlem 
(1673, attributed to Job), View in Amster- 
dam, Hermitage, St. Petersburg; View of 
Haarlem Cathedral, View in Cologne, Uffizi, 
Florence.—Meyer, Kiinst. Lex., 111. 586 ; Van 
der Willigen, 79. 

BERCK-HEYDE (Berk Heyde), JOB, 
born at Haarlem, baptized Jan. 27, 1630, 
died there, Nov. 23, 1693. Dutch school ; 
landscape, architecture, and genre painter ; 
pupil of Jacob de Wet, and of Frans Hals ; 
Master of Haarlem guild in 1654. Went 
with his brother Gerrit up the Rhine as far 
as Heidelberg, where they were patronized 
by the Elector Palatine; after their re- 
turn to Haarlem they lived together, both re- 
maining unmarried. Works: Interior of Old 
Exchange at Amsterdam (1678), Arenberg 
Gallery, Brussels; Studio of Frans Hals, 
Joseph’s Brethren in Egypt (1669), Interior 
of Old ‘Exchange, Church Interior (1664), 
Amsterdam Museum; Courtesan’s Room, 
Rotterdam Museum; Interior, Stiidel Gal- 
lery, Frankfort ; Family Assembled before 
House, Meiningen Gallery ; Church Interior, 
Gottingen Gallery ; Soldiers on Guard, Ama- 
lienstift, Dessau ; Winter Landscape, Ber- 
lin Museum; Christ and the Children 
(1662), Man at Breakfast, Schwerin Gallery ; 
Interior of Haarlem Cathedral (1665), 
Dresden Gallery ; two Landscapes, two Ani- 


mal Pieces (?), Liech- 

tenstein Gallery, Vii Of Lok Ploy de 
enna; Artist’s Portrait 

(1675), Uffizi, Florence. — Meyer, Kiinst. 
Lex., iii, 585; Quellenschriften, xiv. 362; 
Van der Willigen, 78. 

BERCKMAN, HENDRIK, born at Klun- 
dert, near Willemstad, in 1629, died at Mid- 
delburg (?) in 1690. Dutch school ; portrait 
painter ; pupil at Haarlem of Philips Wou- 


werman, and in Antwerp of Willeboorts and 
Jordaens; entered the guild at Leyden in 


1654, probably only for a short time. Court 
painter to Count Henry of Nassau, after 
whose death he settled at Middelburg. De 
Bie speaks highly of his archery pieces and 
the portraits of Admirals de Ruyter and 
Evertsen. Works: Portrait of Vice-Admi- 
ral Bankert (1648), Amsterdam Museum ; 
do. of Joost van Trappen, Rotterdam Mu- 
seum.— Meyer, Kiinst. Lex., iii. 587. 

BERDELLE, JOHANN BAPTIST, born 
in Mentz, May 15, 1813, died in Munich, 
July 19, 1876. History and portrait painter ; 
pupil of Dusseldorf Academy, under Scha- 
dow, visited (1841-45) Paris, and North. 
Italy, especially Venice, then settled in 
Munich, where he was greatly influenced 
by Genelli and by Rahl. Undeserved oppo- 
sition and disparagement on the part of the 
reigning clique drove him to suicide; he 
drowned himself in the Isar. Works: Blind 
Nimrod (1847); two Religious Pictures with 
Saints (1854); Female Portrait (1856) ; 
Maria Hilf! The Four Seasons (1861); Myth 
of Arion, Hagen with the Mermaids (1867); 
fourteen Groups from Greek Mythology 
(1871), Staircase, Polytechnic Institute, Mu- 
nich; Scene from Life of Psyche (1876). 
—Meyer, Kiinst. Lex., iii, 589; Kunst- 
Chronik, xi. 801. 

BERG, ALBERT, born in Berlin in 1825, 
died at Hallstadt, Austria, Aug. 19, 1884. 
Landscape painter, pupil at Geneva of 
Guigon ; studied from nature in southern 
France, north Italy, and Switzerland; in 1844 
went from Naples with the Grand Duke 
of Mecklenburg to Malta, Smyrna, and Con- 
stantinople. Studied, 1846-1848, in Paris 
and Italy and, on Humboldt’s suggestion, 
went in 1849 to Central and South America, 
and returned to Berlin in 1850, bringing 
with him a rich collection of sketches, now, 
with others from Rhodes and Lycia, in the 
National Gallery. In 1853-54 he lived in 
Rhodes, visited Lycia, and in 1860 joined 
the Prussian expedition to Hastern Asia. 
After journeys through the Alpine countries, 
Scotland and Greece, he spent the winter 
of 1873-74 in Athens, and in 1878 became 


144 


BERG 


director of the Breslau Museum. Works: 
two Views in Primeval. Forests of New 
Granada (1852); Views in the Tropical 
Woods; do. in Rhodes and in Lycia; 
Cairo from Road to Boulak, Kata-men Gate 
at Peking (1873).—Meyer, Kiinst. Lex., i. 
595 ; Kunst-Chronik, viii. 806. 

BERG, ALBERT (JOSEF ALBERT 
SOULT), born in Stockholm, Sept. 19, 1832. 
Marine painter; pupil of Stockholm Acad- 
emy, then of Disseldorf Academy, under 
Andreas Achenbach; visited Holland and 
Belgium, studied in Paris under Ary Schetf- 
fer, then visited Italy and Sicily, and in 1865 
settled in Stockholm. He is a deaf-mute, 
and one of the most ardent promoters of 
the education of deaf-mutes in Sweden. 
Works: Fight between Swedish Ship and 
English Men-of-War in 1704 (1870), and two 
others, Stockholm Museum.—Meyer, Kiinst. 
Lex., ii. 596. 

BERG, JACOBUS EVERARDUS JO- 
SEPHUS VAN DEN, born at Rotterdam, 
Nov. 8, 1802, died at The Hague, July 20, 
1861. History painter; son and pupil, at 
Rotterdam Academy, of Gysbertus Johan- 
nes van den Berg (1769-1817), then pupil 
of Antwerp Academy, and of Herreyns. 
After eight years in Italy attained great 
success in Paris, then became professor, 
and in 1844 director, of The Hague 
Academy. Works: Self-Sacrifice of Admi- 
ral de Ruyter ; Scene from Maid of Perth 
(1839) ; Scenes in Lives of Jacoba van 
Bergeren, Jan van Schaffelaar, and Clau- 
~ dius Civilis; Fall of the Angels; St. Law- 
rence ; Supper at Emmaus.—Immerzeel, i. 
44; Kramm, viii. 11. 

BERG, SIMON VAN DEN, born at 
Overschie, near Rotterdam, Nov. 4, 1812. 
Animal and landscape painter; pupil at 
Rotterdam Academy of Gillis de Meyer, 
and at The Hague of Pieter G. van Os, then 
settled in Amsterdam, in 1841 at Heem- 
stede, near Haarlem, and in 1875 became 
conservator, and in 1880 director, of the 
Royal Gallery at The Hague. Gold medal, 
Amsterdam, 1838; member of Amsterdam 


(1839) and Ghent (1841) Academies. His 
pictures represent mostly cows or sheep at 
pasture.—Immerzeel, 1. 45. 

BERGAMASCO. See Lotto, Lorenzo. 

BERGAMASCO, IL, born at Bergamo 
about 1500, died in Madrid in 1579. Geno- 
ese school. Real name Giambattista Cas- 
tello, but called Bergamasco to distinguish 
him from the noted miniature painter of 
the same name, who died at an advanced 
age in 1637. Came early with the painter 
Aurelio Busso to Genoa, where he won repu- 
tation as a painter ; studied painting, archi- 
tecture, and sculpture in Rome. In 1567 
went to Spain, at invitation of Philip Lie 
and executed works in the Escorial, the 
Pardo, and other palaces.—Lanzi, 11. 246 ; 
Ch. Blane, Ecole Génoise. 

BERGEN (Berghen), DIRK VAN, flour- 
ished in Haarlem in 1661-90. Dutch 
school; landscape and animal painter; pu- 
pil of Adriaan van de Velde, whom he imi- 
tated successfully. About 1673 he opened 
a studio in London; afterwards returned 
home (about 1680 ?). Sometimes painted 
figures in the landscapes of Philips de Ko- 
ninck. Works: Two Landscapes (one dated 
1688), Louvre ; do., Amsterdam, Berlin, and 
Vienna Museums; four, Schwerin Gallery ; 
four (one dated 1682), Dresden Gallery.— 
Meyer, Kiinst. Lex., ii, 599. 

BERGER, JULIUS VICTOR, born at 
Neutitschein, Moravia, July 10, 1850. 
History, genre, and portrait painter ; pupil 
of Vienna Academy and of Ed. Engerth ; 
won the grand prize for Rome in 1874, and 
spent three years in Italy. Professor at In- 
dustrial Art-School in Vienna since 1881. 
Works: Baptism of Borivoi ; Emperor Ru- 
dolph II. and Keppler (1871); Spring’s En- 
try (1878); Portrait of Botanist Fenzl (1879), 
Vienna Academy; All Soul’s Day (1881); 
Decorative Paintings (1882), Palazzo Zierer, 
Vienna.—Meyer, Kiinst. Lex., 111. 605 ; Neue 
illustr. Zeitg. (1878), ii. 663 ; (1881), 1. 85. 

BERGERET, DENIS PIERRE, born 
at Villeparisis (Seine-et-Marne); contempo- 
rary. Still-life painter ; pupil of Karl Dau- 


145 


BERGERET 


bigny. Medals: 3d class, 1875; 2d class, 1877. 
Works : Dessert, Lobster (1875) ; Prawns, 
Preparations for Dessert (1877) ; Flies’ Feast, 
War—Art—Religion (1880); Lucky Day, 
Present from Pomona (1881); The Tide 
(1882); For the Féte-Days, Salt and Fresh 
Water Crustaceans (1883); Thrushes, Rai- 
sins (1884). 

BERGERET, PIERRE NOLASQUE, 
born in Bordeaux, Feb. 2, 1782, died in 
Paris, Feb. 21, 1863. History, genre, and 
portrait painter ; pupil of Lacour, the elder 
(1745-1814), of Vincent and of David ; ex- 
hibited first in the Salon of 1806, when he 
won the grand prix. Medal: Ist class, 
1808. Works: Raphael’s Obsequies (1806); 
Francis I. and Henry VIII. on the Field of 
the Cloth of Gold (1808); Charles V. pick- 
ing up Titian’s Brush (1808), Portrait of 
Louis Philippe, Museum, Bordeaux ; Christ 
Crowned with Thorns, Cathedral, ib.; St. 
Louis in Prayer, Notre Dame, ib.; Czar 
Alexander presenting to Napoleon the Cal- 
mucks, Cossacks, and Bashkirs of the Rus- 
sian Army (1810), Versailles Gallery ; Henry 
IV. on his Bier, Meeting at Tilsit of Alex- 
ander and Napoleon (1810); Anne Boleyn 
listening to her Sentence (1814); Francis 
I. writing Verses inspired by Agnes Sorel 
(1817), Rembrandt in his Studio (1836), 
Fontainebleau; Homer Reciting, Michel- 
angelo, grown blind, touching an An- 
tique Torso (1817); St. Louis at Dami- 
etta, Lippo Lippi delivered from Captivity, 
Poussin’s Obsequies (1819); Court of Mar- 
guerite of Navarre, Charles V. in Prison, 
Tintoretto and Aretino (1822); Shipwreck 
of Charles V. (1824); Claude Lorrain and 
Innocent X. (1831); Death of Titian (1833); 
Excavation of the Laocoén, Soliman IL. buy- 
ing Roxelana, Henry II. and Diana of Poitiers 
(1835); Education of Jupiter, Republic Tri- 
umphant (1849); Charity, Death of Colum- 
bus (1851).—Larousse, ii. 582; Meyer, 
Kiinst. Lex., iii. 606. 

BERGH, JOHAN EDVARD, born in 
Stockholm, March 29, 1828, died there, 
Sept. 23, 1880. Landscape painter ; pupil 


of the Stockholm Academy; won first prize 
in 1858, and studied then in Diisseldorf 
under Gude and in Geneva under Calame. 
Travelled in 1856-57 in Italy; became, 
after his return, member of, and in 1861 
professor in, the Stockholm Academy. Med- 
als in Stockholm (1866) and Paris (1867). 
Works: Wood-Interior, Stockholm Mu- 
seum ; Beech-Wood, Magnus, Gothenburg ; 
Veblungsniis in Romsdal, Astrup, Stock- 
holm ; View of Stockholm, Prince of Wales : 
View in Dalecarlia, Becker, Amsterdam.— 
Brockhaus, ii. 819. 

BERGHE, AUGUSTINUS VAN DEN, 
born at Bruges in 1756, died at Beauvais, 
France, in 1836. History, landscape, and 
portrait painter; pupil in Bruges Academy 
of J. A. Geremyn, then from 1780 in Paris 
Academy of Suvée ; won prize in 1782, re- 
turned to Flanders in 1791, won prize in 
Ghent Academy in 1796, and became pro- 
fessor at the Ecole centrale at Beauvais. 
Works : Coriolanus with his Family (1786); - 
Cidipus at Colonus ; Death of Adonis; St. 
Anthony of Padua in Eestasy, Notre Dame, 
Bruges ; Cidipus cursing his Son Polynices 
(1796), Ghent Museum.—Immerzeel, i. 46. 

BERGHE, CHARLES AUGUSTE VAN 
DEN, born at Beauvais (Oise), in 1798, 
died in Paris, Dee. 17 (Nov. 19 ?), 1858. 
History and portrait painter ; son of ‘preced- 
ing, pupil of Girodet and Gros. Medal, 
2d class, 1833; L. of Honour, 1839. 
Works: Quentin Durward and Louis pe 
Portrait of Bertini (1833); Descent from 
the Cross, Temptation of St. Anthony, 
Magdalen Penitent (1836); Alice and Cora : 
portraits of Generals Vaubois and Gréard, of 
the composer Koutski, and others.— Meyer, 
Kiinst. Lex., iii. 612. 

BERGHEM. See Berchem. 

BERGLER, JOSEF, born in Salzburg, 
May 1, 1753, died in Prague, June 25, 1829. 
History painter ; pupil of his father, the 
sculptor J. B., the elder (1708-88), in Pas- 
sau, then from 1776-79 of Martin Knoller 
in Milan, and in 1786 of Maron in Rome. 
After winning the great prize of the Acad- 


146 


BERJON 


emy at Parma, he became cabinet painter to 
Cardinal Auersperg, prince bishop of Pas- 
sau, and in 1800 director of the newly 
founded Academy at Prague. He painted 
a considerable number of altarpieces for 
churches in Bavaria and Austria, and several 
episodes from German and Bohemian his- 
tory, notably Hermann and Thusnelda, in 
the Prague Gallery ; Libussa as Mediator, 
Sentence of Duke Spitignev IL, Rescue by 
Bohemian Knights of Charles IV. at Pisa. 
—Allgem. d. Biogr. ii. 390 ; Wirzbach, 1. 
309. 

BERJON, ANTOINE, born in Lyons, 
May 17, 1753, died there in Nov., 1843. 
Flower and still-life painter, exhibited first 
in 1791. Medal, 2d class, 1819. Works: 
Wedding Present (1797); Shells and Corals, 
A Hare, A Rooster (1810); Flowers and 
Fruit in Baskets, Grapes, Peonies, Bouquet 
(1813); Fruitpiece, Dessert (1836); Poppies 
(1823) ; Artist’s Miniature Portrait (1818), 
all in Lyons Museum.—Meyer, Kiinst. Lex., 
iil. 622. 

BERK HEYDE. See Berck-Heyde. 

BERNA. See Barna. 

BERNAERTS (Bernaerd), NICASIUS, 
born at Antwerp in 1620, died in Paris, 
Sept. 16, 1678. Flemish school; animal 
and still-life painter; pupil of Frans Sny- 
ders, 1633-34, then went to Italy and set- 
tled in Paris, where he was among the most 
esteemed Flemish painters; after a few 
years he went to Antwerp, was received 
master of St. Luke’s Guild in 1654, but 
soon returned to Paris, where he became 
member of the Academy in 16638. His 
piece of reception wasan historical picture— 
Chastity of Joseph. In France known al- 
most exclusively under the name of Nicasius. 
Works: Birds, Birds and Quadrupeds, 
Louvre, Paris; Animals in a Landscape, 
Rouen Museum; Fight between Cat and 
Dog, Dijon Museum.—Biog. nat. de Bel- 
gique, ii. 270 ; Meyer, Kiinst. Lex., ii. 631 ; 
Michiels, ix. 76, 288 ; Rooses (Reber), 425. 

BERNARD, ST., VISION OF, Murillo, 


8 ft. 2in. The Saint in habit of Cistercian 
Order, kneeling in his cell, beholds the Vir- 
gin, on clouds in a glory of cherubs and 
heads, bearing Jesus on her arm ; with her 
right hand she presses from her breast a 
stream of milk, which falls on the Saint’s 
lips; at left, before a case of books, is a 
table with books, writing materials, and 
lilies ; on floor, in foreground, other books 
and the pastoral staff. Second manner ; 
from Palace of S. Ildefonso. Engraved by 
F. Muntaner, J. Bromley; etched by A. 
Jameson, C. Alabern.—Curtis, 220; Ma- 
drazo, 475. 

BERNARDINO DI BETTL 


ricchio. 


See Pintu- 


BERNARDINO DA COTIGNOLA. See 
Zaganelli, Francesco. 
BERNARDO DE FLORENTIA. See 


Daddi, Bernardo. 

BERNATZ, JOHANN MARTIN, born at 
Speyer, March 22, 1802, died in Munich, 
Dec. 19, 1878. Landscape and architecture 
painter ; pupil at Vienna Academy in 1821, 
and again in 1827-29, meanwhile of Keller- 
hofen at Speyer ; went to Munich in 1829, 
visited Constantinople, Asia Minor, and 
Egypt in 1836-37, Calcutta and Abyssinia 
in 1840-48, and published, in 1852, an ex- 
tensive work under the title: Scenes in 
Ethiopia. Works: Kloster Maulbronn, 
Speyer Cathedral, Cycle of Water Colours 
(1858); Rori River in Highlands of Schoa, 
Nubian Salt Lakes (1871); Church in Mon- 
astery on Mount Sinai (1871 and 1877); 
Court of Suleiman Mosque at Constantino- 
ple (1874); View of Suleiman Mosque (1878). 
— Meyer, Kiinst. Lex., iii, 650; Kunst- 
Chronik, xiv. 227. 

BERNAZZANO, CESARE, of Milan, 
flourished beginning of 16th century. 
Lombard school ; probably pupil of Leon- 
ardo da Vinci. Painted landscapes, fruits, 
flowers, and birds, sometimes in collabora- 
tion with Cesare da Sesto, who added the 
figures in his landscapes. Bernazzano 
painted the fine landscape background to 


Madrid Museum ; canvas, H. 10 ft. 3 in. x | Cesare’s Baptism of Christ, Casa Scotti Gal- 


147 


BERNE 


lerati, Milan.—Vasari, ed. Mil, v. 101; 
Lanzi, 11. 487 ; Ch. Blanc, Ecole milanaise. 

BERNE -BELLECOUR, ETIENNE 
PROSPER, born at Boulogne, June 29, 
1838. Genre, landscape, and _ portrait 
painter ; pupil of Picot and of F. Barrias. 
Medals: 1869; 1st class, 1872; 3d_ class, 
1878 ; L. of Honour, 1878. Works: Sou- 
venir of Normandy (1861); Road on the 
Borders of Normandy (1864) ; Great Heat, 
View on Norman Coast (1868); Dismounted, 
A Sonnet, Amorous Man, Pea Shooter 
(1869); After the Procession, Shearing 
Sheep in Normandy (1870) ; Cannon-Shot, 
Nest of Cupids (1872) ; Rent-Day (1873) ; 
Intended Husband, Summer Morning 
(1874); Guerillas of the Seine in Battle of 
Malmaison (1875) ; The Desert (1876); In 
the Trenches (1877); On the Ground 
(1879) ; Attack on Chateau of Montbéliard 
(1881); Manceuvre of Embarking (1882); 
Prisoner, Strategic Point (1883); Disem- 
barkation (1885), G. Petit. Works in 
United States: Intended Husband, Miss C. 
L. Wolfe, New York; In the Trenches, F. 
Harper, New York; In the Woods, R. L. 
Cutting, New York ; Trumpet Practice, B. 
Wall, Providence.—Larousse. 

BERNIER, CAMILLE, born at Colmar 
in 1823. Land- 
scape painter ; 
pupil of L. 
Fleury. In 
1873 was mem- 
ber of the jury 
of the Salon. 
Medals: 1868, 
1869 ; 2d class, 
Stace ea. Por 
Honour, 1872. 
Works: Farm 
of Kerluce (1857); Rocks near Plous- 
gastel (1859); The Gapeau (1861); Village 
of Plounésur, Bay of Penhir (1863); Beach 
of Guisseny, Mouth of the Elorn (1864); 
Burning Sea-Weed near Kersaint (1865); 
Heath near Bannalec (1867); Pond of Qui- 
merch, Path through the Broom (1868); 


Heath of Kerbagadie, Fountain in Brittany - 


(1869); Road near Bannalec (1870); January 
in Brittany (1872), Luxembourg Museum ; 
D’Anndour at Bannalec (1873); Summer, 
Autumn (1875); Wooden Shoe-Makers in 
the Woods of Quimerch (1877); Abandoned 
Path (1879); Pool (1882); Mist and Sun- 
shine (1884); Little Wood, La Lande (1885). 
—Larousse. 

BERNINGER, EDMUND, born at Arn- 
stadt, Thuringia, in 1843. Landscape painter; 
pupil of the Weimar Art School under Theo- 
dore Hagen ; visited Holland, Italy, Corsica, 
and Northern Africa, and settled in Munich. 
Works: London Bridge, Venetian Night 
Festival (1873); Street in Tunis (1876); Isle 
of Capri; Ruins of Carthage ; View on the 
Thames (1880); Street in Cairo; Several 
Views in Egypt. Exhibited at Munich 
(1883): Evening near Sorrento, Bay of Al- 
giers.—Miiller, 45. 

BEROUD, LOUIS, born at Lyons ; con- 


temporary. History painter; pupil of Gour- - 


det, Bonnat, and Lavastre. Medal, 2d class, 
1883. Works: Place Saint-Sulpice (1880) ; 
Place de la République (1881) ; Salon Carré 
at the Louvre, (1882); At the Louvre (1883) ; 
My Studies at Venice (1884); Henri III. at 
Venice (1885). 

BERRES, JOSEF VON, born at Lem- 
berg, Austria, May 30, 1821. Genre painter ; 
pupil of Munich Academy under Piloty (1866 
—69), having until then served in the Austrian 
army where he attained the rank of colonel; 
commanded a regiment during the cam- 
paign of 1866, and was decorated with the 
Order of the Iron Crown. Travelled ex- 
tensively in the East, as far as the Cauca- 
sus and Astrakan. Many of his pictures 
bought for America. Works: Wallenstein 
burning Documents; Calmuck Wedding; 
Recruiting in Lower Hungary; Dismis- 
sal of Huszirs; Romance on the Heath; 
Evening Sermon in St. Stephen’s, Vienna ; 
Hungarian Horse Fair (1873), Vienna Muse- 
um ; Cattle Dealers in the Campagna (1877); 
Starting of a Picket (1882).—Meyer, Kiinst. 
Lex., iii. 679. 


148 


BERRETTINI 


_ BERRETTINI, PIETRO. See Pietro da 
Cortona. 

BERRETTONI, NICCOLO, born at Ma- 
cerata, Dec. 14, 1637, died in Rome in Feb. 
1682. Bolognese and Roman school ; history 
painter ; pupil at Bologna of Cantarini, then 
at Rome of Carlo Maratti, who became jeal- 
ous of his pupil’s brilliant success. He formed 
for himself a mixed style, imitating Guido 
and Correggio. Works: Marriage of the 
Virgin, 8. Lorenzo in Borgo, Rome ; Birth 
and Baptism of Christ, Dresden Gallery; St. 
Magdalen, Augsburg Gallery; Visitation, 
Hermitage, St. Petersburg ; frescoes in S. 
Maria de Montescanto al Popolo, Rome, S. 
Maria del Suffragio, ib., Palazzo Altieri al 
Gesb, ib., Palazzo della Ruffina, Frascati.— 
Meyer, Kiinst. Lex., iil. 692. 

BERRUGUETE, ALONSO, born at Pare- 
des de Nava about 1480, died at Alcala in 
1561. Spanish school; pupil of his father, 
Pedro Berruguete ; went to Florence about 
1503 and studied with Michelangelo, whom 
he also assisted in the Vatican. He practised 
painting, sculpture, and architecture, and 
was among the sculptors chosen by Bra- 
mante to model the Laocoén, to be cast in 
bronze. In Florence he was employed to 
finish an altarpiece left incomplete by Filippo 
Lippi at his death. In 1520 he returned to 
Spain and executed many works, especially 
monumental altarpieces and church screens, 
at Saragossa, Valladolid, Madrid, Toledo, and 
other cities. He was greatly honoured by 
Charles V., who made him a cavalier and 
appointed him his painter and sculptor. He 
became wealthy enough to purchase the 
lordship of Ventosa, near Valladolid. Berru- 
guete did more for Spanish art than any who 
had preceded him, but he was more excellent 


Sar ugel 


in sculpture than in painting, two specimens 
of which, a Holy Family and Flight into 
Egypt, are in the Museum at Valladolid.— 


Stirling, i. 140; Ch. Blane, Ecole espagnole; 
Bermudez, i. 130; Vasari, ed. Mil., vii. 161; 
W. & W., iii. 40. 

BERRUGUETE, PEDRO, born at Par- 
edes de Nava, died in Madrid after 1504. 
Spanish school; painter to Philip L, by whom 
he was ennobled. Employed with Rincon in 
cathedral of Toledo in 1483, 1495, and 1497; 
also painted in cathedral of Avila. Bermudez 
ranks him with Pietro Perugino.—Bermu- 
dez, i. 144; Stirling, i. 93; W. & W., i1. 359. 

BERTAUD, Mme. CHERADAMH, died 
about 1824. History and portrait painter ; 
pupil of David. Medal, 2d class, 1819. 
Works : Hagar in the Desert (1814); Daugh- 
ters of Minos (1817); Female Gardener, Por- 
traits (1819); Portrait of the Poet Pizere- 
caurt (1822), Nancy Museum; The Fairy 
Urgel ; Portrait of Gen. Devraux de Sainte 
Maurice, Versailles Gallery.—Meyer, Kiinst. 
Lex., i. 699. 

BERTEAUX, HIPPOLYTE DOMIN- 
IQUE, born at Saint-Quentin (Aisne) ; con- 
temporary. History and portrait painter ; 
pupil of Hip. Flandrin, Galland, and P. Bau- 
dry. Medal, 3d class, 1883 ; 2d class, 1885. 
Works: Studies for ceiling of the Theatre 
Graslin at Nantes (1881); First Lesson in 
History (1882); Ce fut la! souvenir of the 
ereat war (1883); Young Shepherdess (1884); 
Attempt upon Life of Hoche (1885). 

BERTHELEMY, JEAN SIMON, born at 
Laon (Aisne), March 5, 1743, died in Paris, 
March 1, 1811. History painter; pupil of 
Noél Hallé, won in 1764 the second and in 
1767 the first prize for Rome, became mem- 
ber of the Academy in 1781, and professor 
in 1792. Works: Cleobis and Biton draw- 
ing their Mother to Temple of Juno (1764); 
Alexander cutting the Gordian Knot (1767); 
Conquest of Calais (1771) ; Eustache de St. 
Pierre at the Conquest of Calais (1779) ; 
Martyrdom of St. Peter (1779), Douai Mu- 
seum; Apollo causing the Body of King 
Sarpedon to be taken to Lycia (1781), Ecole 
des Beaux Arts, Paris; Eleazar preferring 
Death to eating of Forbidden Meat (1789), 
Angers Museum; Bonaparte visiting the 


149 


BERTHELEMY 


Wells of Moses (1808), Entry of French 
Army into Paris in 1436, Versailles Gallery. 
—Meyer, Kiinst. Lex., iii. 707. 

BERTHELEMY, PIERRE EMILE, born 
at Rouen, April 3, 1818. Marine painter ; 
pupil of Rouen Art School, then in Paris of 
Cogniet and of Ecole des Beaux Arts. Works: 
Naval Battle Between French Fleet under 
Duquesne and Dutch-Spanish Fleet under 
Ruyter, 1676 (1846); Scene from Walter 
Scott’s Pirate, Harbour of Fécamp (1847); 
Ship in Distress (1848); Flight of Jean Bart 
(1849) ; Shipwreck of Van Tromp in Bay of 
Trépassés (1851); do. of Corsair Ship (1853); 
Return of Fishing Boats (1857) ; After the 
Storm (1859); Burning Vessel (1861) ; Ship 
Le Vaubant in a Storm (1864); Mouth of 
the Seine at Sunset (1865); Shipwreck of 
Borythenes (1866) ; do. of Evening Star 
(1867); Harfleur Harbour (1868); Return of 
Fishing Boats (1877) ; Various marines 
(1879-85).—Meyer, Kiinst. Lex., iii. 707. 

BERTHON, NICOLAS, born in Paris, 
Aug. 4, 1831. Genre painter; pupil of Ecole 
des Beaux Arts and of Cogniet. Medal, 
1866. Works: Mowers’ Luncheon (1857) ; 
do. (1863); Mowers, Soldier’s Return (1864); 
Bowling at Beaucé, Peasant from the Moun- 
tains (1865); During Mass (1866); Souvenir 
of the Auvergne (1866), Arras Museum ; The 
Baurrée (a dance, 1867); Prayer, Spinning 
Woman (1868); Pastime (1873) ; The Walk 
(1875); Procession at St. Bonnet (1877); In- 
terior in Auvergne (1878, 1880, 1882); Pro- 
cession of Penitents (1883).—Meyer, Kiinst. 
Jex., ii Ti, 

BERTHON, RENE THEODORE, born 
at Tours in 1776 or 1778, died in Paris, 
April 9, 1859. History and portrait painter; 
pupil of David ; lived in Venice and Vienna 
at the beginning of this century, and re- 
turned to Paris in 1806. One of the most 
talented artists of the modern school. L. of 
Honour. Works: Chloe bathing in a Grotto 
(1796) ; Portrait of Bonaparte as Consul 
(1801); Surrender of Ulm (1806), Napoleon 
receiving at Berlin Delegation of Senate 
after Battle of Jena (1808), Albert Rampon 


defending Redoubt of Monte Legino (1812), 
Order of St. John taking Possession of Malta 
(1839), Versailles Gallery ; David obtaining 
Saul’s Permission to contend with Goliath 
(1822), Passage through Caen of Duc de 
Berri in 1814 (1824), Caen Museum; Na- 
poleon handing to Delegation of Senate the 
Captured Prussian Standards, Compi¢gne.— 
Meyer, Kiinst. Lex., iii. 710. 

BERTHOUD, AUGUSTE HENRI, born 
in Paris of Swiss parents, April, 1829. Land- 
scape and genre painter ; pupil of Prottevin, 
and of the Ecole des Beaux Arts, then of 
Ary Scheffer and influenced by Corot, with 
whom he was allied in friendship ; settled at 
Interlaken in 1862, and at Neuchatel, the 
home of his family, 1874. President of the 
Society of Swiss Painters and Sculptors since 
1882. Medal, Vienna, 1873. Works: Re- 
pose sur la Montagne (1857); Unspunnen 
near Interlaken (1868) ; Summit of the 
Jungfrau; The Wetterhorn ; Kandersteg 
Valley ; Glacier of Altelo; Women of Arles 


in Prayer ; Procession of Arlésiennes; Plus ~ 


heureux qu'un Roi; Ruth; Judith; Mes 
éleves peignant d’aprés nature (1879) ; View 
near Rosenlani Glacier, Evening Breeze 
(1882); Death of the Chamois Hunter (1872), 
The Jungfrau and the Vagueren, Neuchatel 
Museum. — Meyer, Kinst. Lex., iii. (REE 
Kunst-Chronik, xiv. 605. 

BERTHOUD, LEON, born at Neuchatel, 
Switzerland, in 1827. Landscape painter ; 
pupil of Maximilien de Meuron, then in 
Paris of Léon Cogniet, spent several years 
in Italy, returned to Paris, then settled at 
St. Blaise, near Neuchatel. Works: Crossing 
an Arm of the Tiber at Borghetto, Fortified 
Tower of Chateau d’Estavayer, The Frohn 
Alp on Lake of Lucerne, Neuchatel Muse- 
um ; Aqueducts in Roman Campagna ; Bay 
of Naples ; View of Sorrento; Temples of 
Pestum ; Monte St. Angelo; Baths of Cara- 
calla; Chateau de Chillon; Lake of Neu- 
chatel.—Meyer, Kinst. Lex., iii. 711. 

BERTIN, EDOUARD FRANCOIS, born 
in Paris, in 1797, died there, Sept. 14, 1871. 
Landscape painter; pupil of Girodet and 


150 


a 


BERTIN 


Bidault. Turning from the classic and tra- 
ditional style to nature, he successfully 
endeavoured to unite truth in detail with 
breadth of general effect. Works: Meeting 
of Cimabue and Giotto (1827), Christ on 
Mount of Olives (1837) ; Sources of the Al- 
pheus (1853), View of Olevano, Old Tombs 
on the Nile, Forest of Fontainebleau.—Ch. 
Blanc, Artistes de mon Temps, 249; La- 
rousse, ii. 621; Meyer, Gesch., 766. 
BERTIN, JEAN VICTOR, born in Paris, 
March 20, 1775, died there, June 11, 1842. 
Landscape painter; pupil of Valenciennes. 
Medal, 1st class, in 1808; L. of Honour, 
1817. He was the master of Cogniet, Bosse- 
lier, Corot, Enfantin, and Roqueplan. Works: 
Festival of Pan, Offering to Venus, Cicero 
on his Return from Exile, Flight of Angelica, 
Festival of Bacchus, Arrival of Napoleon at 
Ettlingen. His Temple of Minerva at Pheneus 
is in the Louvre. — Villot, Cat. Louvre; Ottley. 
BERTIN, NICOLAS, born in Paris in 
1667, died there, April 11, 1736. Pupil of 
Vernansalle, of Jouvenet, and of Bon Bou- 
logne. When eighteen years old he took 
the first prize for painting for his Building 
of the Ark, and he was sent as a pensioner 
of the king to Rome, where he resided four 
years. He became a member of the Acad- 
emy in 1705, professor in 1715, and adjunct 
rector in 1733. Works: St. Philip baptiz- 
ing the Eunuch, Hercules delivering Prome- 
theus (1703), Louvre ; Chastity of Joseph, 
Susanna at the Bath, Amsterdam Museum ; 
Man with the Gourd, Gardener and the 
Bear (2 illustrations of La Fontaine’s fables), 
Dresden Gallery.—Villot, Cat. Louvre. 
BERTINELLL See Albertinelli. 
BERTLING, KARL, born at Meppen, 
Hanover ; contemporary. History and por- 
trait painter ; pupil of the Diisseldorf Acad- 
emy under Schadow and Bendemann ; be- 
came first known through his Death of Abel, 
and is now chiefly reputed for his masterly 
portraits. Works: Death of Abel; Gidipus 
led by Antigone ; Resurrection (1869); Lore- 
ley; Night and Morning (1875), Villa Boker, 
Bonn.—TIllustr. Zeitg. (1876), 1. 294. 


BERTO DI GIOVANNI, flourished in 
1497-1523. Roman school of Perugia ; 
called also Bertus Joannis Marci. Pupil of 
Perugino at same time with Raphael, who 
engaged him in 1516 as his assistant to paint 
a picture of the Coronation of the Virgin 
for the convent of S. M. di Monteluce, near 
Perugia, which was finished after Raphael's 
death by Giulio Romano and Il Fattore 
(1525) and is now in the Gallery of the Vati- 
can. Berto painted for the predella three 
subjects—the Birth (dated 1525), Marriage, 
and Death of the Virgin, and a fourth rep- 
resenting the Presentation in the Temple. 
The predella of the principal altarpiece in 
S. Giuliana, Perugia, is perhaps also by him. 
—T[anzi, i. 348; Ch. Blanc, Ecole ombrienne; 
C. & C., Italy, iii. 346 ; Mintz, Raphael, 622. 

BERTON, ARMAND, born in Paris ; con- 
temporary. History and portrait painter ; 
pupil of A. Millet and Cabanel. Medal, 3d 
class, 1882. Works: Evening (1880); Por- 
traits (1881); Eve, Woman with the Rose 
(1882); A Grasshopper (1883); Modern Fable 
Seated upon Antique Ruins (1884); Portrait 
(1885). 

BERTRAND, GEORGES, born in Paris 
in 1849. Genre and portrait painter ; pupil 
of Yvon, Barrias, and Bonnat. Medal, 2d 
class, 1881. Works: The Miser (1876); Fall- 
ing Leaves (1877); The Leap from the Leu- 
cadian Rock (1878); Slave’s Leisure (1879); 
Patrie! (1881); Spring Passing (1883).— 
Meyer, Cony. Lex., xxi. 101. 

BERTRAND, JAMES, born at Lyons in 
1825. History painter; pupil of Périn and 
of Orsel, then studied in Rome ; a skilful, 
careful painter, with a graceful, harmonious 
style and much religious sentiment. Medals: 
3d class, 1861, 1863, 1869, 1878 ; L. of Hon- 
our, 1876. Works: Idyl (1857); St. Benedict 
taking Communion (1859), Lyons Society of 
Art; Conversion of St. Thais (1861), Lyons 
Museum; Brothers of Death taking away a 
Murdered Man in the Campagna (1863), 
Lyons Museum; Women of Alvito on a Pil- 
erimage, Diogenes at Lais’s House (1863) ; 
Mary the Egyptian Repentant (1864) ; Emi- 


151 


BESCHEY 


grants of the Roman Campagna (1865), Or- 
leans Museum ; Phryne at the Festival of 
Eleusis, Pilgrimage in the Abruzzi Mountains 
(1866); Death of Sappho, Idyl (1867) ; Sere- 
nade, The Curious (1868) ; Inquisitive Little 
One, Death of Virginia (1869), Luxembourg 
Museum ; Marguérite, Death of Manon Les- 
caut (1870) ; Ophelia’s Madness, Ophelia’s 
Death (1872) ; Cinderella, Caen Museum ; 
Idyl (1873); Romeo and Juliet Dying, 
Montpellier Society of Art; Anuccia (1874); 
Magdalen, Know Thyself, Lesbia (1875); 
Aurora, Marguérite (1876); Echo, Education 
of the Virgin (1877); Cloister (1878); Gala- 
tea and Acis surprised by Polyphemus, 
Coming out of School (1879); The Bird 
Charmer, Marguérite in Church (1880); Love 
drawing Night over the Earth (1881); Cigale 
singing to the Moon, Waiting in Ambush 
(1882); The Sirens, Charlotte Corday’s 


JAMES BERTRAND * 1875° 


Last Day (1883); Calvary, Ophelia (1884) ; 
Youth, Study of a Head (1885).—Montrosier, 
Artistes modernes ; Larousse. 

BESCHEY, BALTHASAR, born at Ant- 
werp, baptized Nov. 20, 1708, died there, 
April 15, 1776. Flemish school ; history 
and portrait painter ; pupil of Peeter Strick, 
an obscure artist; master of the guild in 
1733 ; dean in 1756. With him the school 
of Antwerp, abandoning the traditions of 
Rubens, entered on the road to decline. 
Works: Flemish Family (1721 ?), Louvre, 
Paris ; Joseph Sold by his Brethren, J oseph 
Viceroy of Egypt (1744), portrait of himself, 
do. of Martin Joseph Geeraerts, Antwerp 
Museum ; Scene before Peasant’s Cottage, 


Ball Liles | f 


Liechtenstein Gallery, Vienna.—Cat. de Mu- 
sée d’Anvers (1874), 46; Michiels, x. 484; 
Rooses (Reber), 441. 

BESNARD, PAUL ALBERT, born in 
Paris ; contemporary. History and portrait 


1 


painter ; pupil of A. Cabanel and J. Bri 
mond. Won the prix de Rome in 1874. 
Medals: 3d class, 1874; 2d class, 1880, 
Works: Autumn (1874); A Fountain (1877); 
After a Defeat in the 5th Century (1880); 
Plenty encourages Labour, Remorse (1882); 
Souvenir of England (1883); Sickness and 
Convalescence (diptych, 1884); Paris (1885). 

BESSON, FAUSTIN, born at Déle, Jura, 
March 15, 1821, died in Paris, March, 1882. 
Genre and portrait painter ; pupil of Brune, 
Decamps, and Gigoux, and of the Ecole des 
Beaux Arts; had especial success with his 
ideal allegorical genre scenes. L. of Hon- 
our, 1865. Works: The Prelude (1844); A 
Summer Day (1846); The Women and the 
Secret (1848); Courtesans and Venetian 
Nobles (1849); Return of the Barber of 
Olmedo and of Gil Blas (1850); Youth of 
Lantara (1852), Ddle Museum ; The Dauph- 
ine’s Promenade (1855); Childhood of 
Grétry (1857), Toulouse Museum; Cous- 
ton’s Studio (1861); Callot and the Mounte- 
bank, An Adventure of Quentin de la Tour 
(1866); A Smile (1867).—Larousse, ii. 638 ; 
Chronique des B. Arts (1882), 68. 

BETHESDA, POOL OF, Tintoretto, S. 
Rocco, Venice. A noble work, but emi- 
nently disagreeable. A crowd of figures, 
with a background of corrupt Renaissance 
architecture.—Ruskin, Stones of Venice, iii. 
322. 

By Tintoretto, Scuola di 8. Rocco, Venice. 
A disgusting picture, representing people 
afflicted with all kinds of diseases.—Ruskin, 
Stones of Venice, iii. 341. 

BETHKE, HERMANN, born at Bruns- 
wick, in 1825. Genre painter; pupil in 
Brunswick of Heinrich Brandes, and stud- 
ied in Munich after the old masters. 
Works: Family Scene; Broken Pitcher ; 
Siesta ; Card Players (1865); Grandmother's 
Convalescence, Summer Morning (1866) ; 
Red Riding Hood, Saying Grace, Winter- 
Guests, Love-Letter.—Miiller, 47. 

BETTANIER, ALBERT, born at Metz; 
contemporary. History painter; pupil of 
Pils, Lehmann, and Maillart. Medal: 3d 


2 


BETTO 


class, 1885. Works: In Lorraine (1881) ; 
Study, In Lorraine (1882); In Lorraine 
(1883); At Gravelotte (1884) ; 1870-1880 
(1885). 

BETTO, BERNARDINO DL 
turicchio. 

BEVILACQUA. See Salimbeni, Ventura. 

BEWER, CLEMENS, born at Aachen, 
May 30, 1820, died at Bonn, Sept. 2, 1884. 
History and portrait painter ; pupil of the 
Disseldorf Academy under Karl Sohn ; 
went in 1841 to Paris, where he studied 
with Delaroche and Ary Scheffer. Under 
the latter’s guidance he painted for French 
churches copies after Raphael, Andrea del 
Sarto, Titian, Rubens, and Murillo; re- 
turned in 1847 to Diisseldorf thoroughly 
imbued with French art ; afterwards became 
professor at the Academy. Latterly painted 
portraits almost exclusively. Works: Ro- 
meo and Juliet (1844); Mary Stuart's Flight 
from Lochleven (1846), Cologne Museum ; 
The Elves (1847), Tasso reading at the 
Court of Ferrara (1850), Contest of Min- 
strels at the Wartburg (1851); Education 
of Mary by Anna and Joachim (1852), Find- 
ing of Moses (1862), Loreley (1867), Judith 
(1872), Cologne Museum ; Portraits of Min- 
ister Stein, Gen. Blumenthal, Archbishop 
von Droste-Vischering.—Miiller, 47 ; Wolfg. 
Miiller, Diisseldorf K., 158. 

BEYEREN, ABRAHAM VAN, born at 
The Hague in 1620 or 1621, died after 1674. 
Dutch school ; still-life painter ; master of 
the guild at The Hague in 1640, at Delft in 
1657 ; mentioned again as member of The 
Hague guild in 1663, and of that of Alkmaar 
in 1674. Works in Amsterdam, Rotter- 
dam, Lille, Frankfort, Berlin, Vienna, Pesth 
Museums, Vienna Academy (1666), Dres- 
den, Hanover, Schwerin Galleries, Hermit- 
age, St. Petersburg.—Meyer, Kiinst. Lex., 
ii. 340. 

BEYLE, PIERRE MARIE, born at Ly- 
ons in 1838. Genre painter ; was a house- 
painter, but with help from the designer 
Philippon was able to send his first picture 
to the Salon in 1867. Medal of 3d class, 


See Pin- 


1881. Works: A Bohemian Girl (1867): 
Permission Refused (1868); Toilet of a Sav- 
age Woman (1869); Tour of the City (1870); 
Monkey’s Toilet (1872); Dressing in a Stu- 
dio, Merchant of Knick-Knacks (1878) ; 
Chevalier Bayard and Maidens of Brescia 
(1875); Gossips of Briquebec (1876); Bazaar 
at Casbah of Algiers (1877); From the 
Mayor’s Office to the Church, Party of 
Ladies (1879); On the Cliff, Fleurs de 
Péchér (1880); Mussel Fishers at Dieppe 
(1881); Fishing at Dieppe (1882); Farewell 
Kiss (1883); Seaweed Burners (1884); Bad 
News (1885). 

BEYSCHLAG, JULIUS ROBERT, born 
at Nérdlingen, July 1, 1838. Genre painter ; 
pupil, at the Munich Academy, of Philipp 
Foltz, studied afterwards in Paris and Italy. 
His pictures are attractive in subject, and he 
is noted for his graceful treatment of the 
female form. Works: Iphigenia, Mowing 
Woman (1860); Love Scene from Faust, 
Sunday Morning (1862); Birthday (1864) ; 
Girl crowning Youth with Flowers (1870); 
Psyche (1872); Soap Bubbles (1873); Spring- 
Day in the Middle Ages (1874) ; Happy 
Mother, Wedding Procession, Orpheus and 
Eurydice (1879); Sunday Afternoon in Mid- 
dle Ages, Samuel Hawk Collection, New 
York; Before the Wedding, H. B. Hurlbut 
Collection, Cleveland ; Good Sister, T. Do- 
lan, Philadelphia.—Ilustr. Zeitg. (1877), 11. 
136. 

BEZARD, JEAN LOUIS, born at Tou- 
louse, Nov. 15, 1799. Pupil of Pierre Gue- 
rin, of Picot, and of Ecole des Beaux Arts. 
Won the prix de Rome in 1829. Medals : 
1st class, 1836, 1857, 1859; L. of Honour, 
1860. Works: Magdalen in Desert, Mag- 
dalen Resting, Interior of Church of AYcis, 
Incident of Revolution of 1830, In the 
Louvre, Martyrdom of St. Saturninus (1836); 
Reign of Evil upon Earth (1837); Martyr- 
dom of St. Eutrope (ordered by State), 
Mephistopheles, Angel and Child, Neapoli- 
tan Sleeper, Seven Works of Pity, Assump- 
tion, St. Roch praying for the Plague- 
Stricken, St. Michael snatching Souls from 


153 


BEZZUOLI 


the Devil, Seven Sacraments (ordered by 
State). Frescos in St. Elizabeth (1849), 
St. Kustache, and St. Clotilde, Paris,— 
Vapereau (1880), 212. 

BEZZUOLI, GIUSEPPE, born in Flor- 
ence, in 1784, died there, Sept. 1855. His- 
tory painter; pupil at the Florence Acad- 
emy under Piattoli, Petroni, and Desmarais ; 
obtained the gold medal in 1811, studied 
then in Rome after Raphael, Domenichino, 
and Guido, became adjunct professor at the 
Florence Academy in 1814, and professor in 
1816. Works: Ajax defending the Body 
of Patroclus (1811); Francesca da Rimini 
(1812); Paul surprised by Lancelot (1813); 
Entry of Charles VIII. into Florence ; Bap- 
tism of Clovis ; Manfred found on Battlefield 
of Beneventum ; Death of Filippo Strozzi ; 
Assassination of Lorenzino di Medici; Fol- 
ly guiding Chariot of Love; Death of 
Abel; Episode from Deluge ; St. Francis 
bringing to Life a Drowned Man (1832), 
Cathedral ; Eve the Sinner, Medea planning 
Leghorn the Death of her Children, Young 
Girl at Prayer. Frescos: Alexander with 
Apelles, Temperance, Justice, Prudence 
and Strength, Exploits of Ceesar in eleven 
scenes (Palazzo Pitti); Galileo’s Experi- 
ments on Gravitation, Loves of Angelica 
and Medoro, Triumph of Bacchus (Borghese 
Palace, Florence); Scene from Boccaccio, 
Entombment (Pistoja Cathedral) ; Ceres 
Searching for Proserpine, Venus’s Toilet, 
Venus carrying off Ascanius (Palazzo Bor- 
ghese, Rome).—Larousse, ii. 668 ; Meyer, 
Conv. Lex., iii. 380. 

BIAGI, BERNARDINO. 
ricchio. 

BIAGIO, VINCENZO DL See Catena, 
Vincenzo. 

BIANCHI, FRANCESCO, called 11 Frari, 
born at Ferrara in 1447, died at Modena, 
Feb. 1510. Lombard school.  Vidriani 
says he was the first instructor of Correggio, 
but if so it can have been but for a short 
time, as that painter was only sixteen years 
old when Bianchi died. Of his many works 
but few remain, such as a fine Madonna 


See Pintu- 


with Saints, in the Louvre, and an Annun. 
ciation in the Gallery at Modena. — Ch, 
Blanc, Ecole lombarde ; Burckhardt, 587 ; 
Morelli (Richter), 238, 

BIARD, (AUGUSTE) FRAN COIS, born 
in Lyons, June 27, 1801, died near Fontaine- 
bleau, July 8, 1882. Landscape and genre 
painter ; pupil of Révoil in Lyons ; travelled 
in Europe, the East, and Africa, settled in 
Paris in 1835, and painted scenes from many 
countries; visited Greenland and Spitz- 
bergen in 1839, Brazil in 1855. His works 
are distinguished for humour, sentiment, 
and variety. Many of them have been ep- 
graved. Medals: 2d class, 1827 and 1848 ; 
Ist class, 1836 ; L. of Honour, 1838. Works: 
French Travellers in a Spanish Tavern 
(1831); Arabs Caught in a Simoom, Nimes 
Museum; Santon preaching to Bedouins, 
Fellah Concert, Wandering Comedians, 
Fools’ Paradise (1833); Baptism in the 
Tropics (1834); Barber’s Apprentice, Sale 
of Slaves, Good Gendarme (1835); Divided 
Honours, Bathing at Home, Duquesne Res- 
cuing Captives from Algerians (1837); Sac- 
rifice of Brahmin Woman, Scene in Custom 
House (1838); County Militia, Family Con- 
cert, Consequences of a Masked Ball (1839); 
Marriageable Young Ladies, The Great Sin, 
Louis Philippe in a Lapland Hut, Walrus 
Fishing, Reindeer Hunting, Pastor Leesta- 
dius teaching Laplanders, ( 1840) ; Du Coué- 
dic’s Farewell to his Crew (1841), formerly 
in Luxembourg Museum; Wreck in Polar 
Seas, Norwegian Hunters at Spitzbergen, 
Jane Shore condemned to Death by Hun- 
ger (1842); Magdalen Bay, Apartment to 
Let (1844); Shipwrecked Men attacked 
by Shark, Classical Painter, Dessert at the 
Parsonage (1846); Four Hours in the Sa- 
lon, Henry IV. and Fleurette (1847) ; Walk 
to Rock of Hertman doé, Council of Re- 
vision (1848); Tenor’s Triumph (1858) ; 
Water Drinkers, Bombardment of Bomar- 
sund, Seizure of Furniture (1857); Slave 
Quarters on a Slave Ship, Selling Slaves, 
Hunting Fugitive Slaves, Travelling in 


North America, Travelling in South Amer- 


154 


BIBBIENA 


ica, The Virgin Forest, Savages preparing 
Curare Poison (1861); Festival of the Su- 
preme Being (1864); The Mammoth, Quar- 
relsome Boatwomen (1867); Fishwives 
of Seguasson (1868): Death of Dupetit- 
Thouars, Travellers Annoyed by Mosquitoes 
(1869); Capture of an English Vessel, Death 
of Bisson (1870); Beginning of the Hunt 
(1873); Tardy Guests, Captain Pleville, A 
Spanish Palace (1874); The Avenger, Alsa- 
tian Exiles (1875); House to Let in Country 
(1876); Wrecked Passengers of the Lucie- 
Marguérite, Railway Compartment for 
Ladies only (1877); Captain Lacrosse’s 
Oath, Vigil in Samois (1879); Savage Wo- 
men Fishing (1881); Caricature Painter in 
Court, Classical Painter before his Model 
(1882).—Larousse, ii. 673 ; Meyer, Gesch., 
690 ; Chronique des Arts (1882), 186. 

BIBBIENA, BERNARDO DOVIZIO DA, 
Cardinal, portrait, Raphael, Madrid Mu- 
seum ; wood, H. 2 ft. 6 in. x 2 ft. A middle- 
aged person, half-length, nearly full face, 
which is beardless; red cap, red collar, 
white sleeve resting on a stone balustrade. 
Long called Cardinal Granville, and by some 
Giulio de’ Medici (Clement VIL). Painted 
in Rome about 1513. Cardinal Bibbiena 
was the intimate friend of Raphael, whose 
engagement to marry his niece Maria was 
ended by her premature death. Raphael’s 
frescos of the history of Venus and Cupid 
in an apartment in the Vatican were exe- 
euted for him. Replica in Palazzo Pitti; 
carried to Paris in 1799; returned in 1815. 
Engraved (Pitti) by Bedetti ; Gruner.—Ma- 
drazo, Cat. descrip. é histor., 189, 341; Gal. 
du Pal. Pitti, in. Pl. 97; Mintz, 283; Pas- 
savant, 11. 146 ; Springer, 253. 

BIBBIENA, FERDINANDO, born in 
Bologna in 1657, died in 1743. Bolognese 
school ; son of Gio. Maria Galli, called Bib- 
biena; pupil of Carlo Cignani. Devoted 
himself to architectural and perspective 
painting, and became the most celebrated 
decorative painter of histime. Honoured by 
all the princes of Europe ; worked in Ger- 
many and in Spain, and decorated churches, 


palaces, and theatres in many Italian cities. 
He was the inventor of improvements in 
theatrical scenery and machinery. He 
painted also some excellent easel pictures, 
chiefly architectural and perspective views. 
In these the figures were usually painted 
by his brother Francesco (1659-1739), who 
was almost as noted and honoured through- 
out Europe as Ferdinand. Ferdinand left 
three sons, Alessandro (died about 1760), 
Antonio (1700-1774), who painted the 
chapel frescos in monochrome, in 8S. Giaco- 
mo Maggiore, and built the great theatre at 
Bologna (1756), and Giuseppe (1696-1756), 
all of whom followed his manner.—Lanzi, i. 
177; Ch. Blane, Ecole bolonaise ; Gualandi, 
Guida di Bologna, 94. 

BIBBIENA, GIOVANNI MARIA, born 
at Bibbiena in 1625, died in 1665. Bo- 
lognese school. Real name Gio. Maria 
Galli, but commonly called Bibbiena, and 
same surname used by his descendants. 
Pupil of Francesco Albani; painted his- 
torical pictures, some of which are in 
churches in Bologna: e. g., St. Andrew 
adoring the Cross, 8. M. dei Servi; Ascen- 
sion, Campo Santo.—Lanzi, ii. 177; Ch. 
Blane, Ecole bolonaise; Gualandi, Guida, 88. 

BICCI, LORENZO DI, born at Arezzo 
in 1350 (?), died in 1427. Florentine school ; 
eldest of the three Biccis, being father 
of Bicci, and grandfather of Neri. No ex- 
isting pictures; but in 1386 he was paid 
for paintings in the Duomo, Florence. The 
ceiling of the choir in 8. Francesco, Assisi, 
assigned to Lorenzo by Vasari, is more prob- 
ably by his son Bicci, with whom he is con- 
stantly confounded by that master. The 
frescos in the Cathedral at Prato represent- 
ing scenes from the lives of SS. James and 
Margaret, and others from the life of 8. Ce- 
cilia in the Carmine, Florence, are in an 
earlier style, and possibly by Lorenzo.— 
C. & C., Italy, ii. 28; Vasari, ed. Le Mon., 
ii. 225; ed. Mil, ii. 49; Liibke, Gesch. ital. 
Mal., i. 166. 

BICCI, BICCI DI LORENZO DI, born 
in 1373, died at Arezzo, May 6, 1452 (?). 


155 


BICCI 


Florentine school ; son of Lorenzo ; painted 
many works between 1420 and 1450, some 
of which are extant, as for example the SS. 
Cosmo and Damian, Uffizi, rather sombre 
in colour, but careful in drawing; and 
some saints under the windows of a chapel 
in the Duomo, Florence, much repainted. 
Bicci is the author of a group in terra cotta, 
representing the Coronation of the Virgin, 
over the door of the hospital of 8. Eeidio, 
Florence, which Vasari wrongly attributes 
to Dello Delli.—Milanesi, Archivio Storico 
Italiano, 183; Vasari, ed. Le Mon., 11. 232 ; 
ed. Mil., 11. 49, 63; C. &C., Italy, i. 30. 

BICCI, NERI DI BICCI DI LORENZO 
DI, born in 1419, died in 1491. Florentine 
school; son of Bicci di Lorenzo, and 
erandson of Lorenzo. He reduced his art 
to the level of a trade, and filled half 
Tuscany with altarpieces and _ pictures. 
His masterpiece, San Giovanni Gualber- 
to enthroned between ten seated Saints, 
in the Regio Lotto of old S. Pancrazio, 
Florence, is ill drawn, flat, and inharmo- 
nious in colour, but not without character. 
There are four Annunciations by this 
painter in the Florence Academy. Many 
of his scholars were so dissatisfied with 
the traffic carried on by Neri in his studio, 
that they left him before their apprentice- 
ship was ended, to find other masters of 
higher tone.—Vasari, ed. Le Mon., ii. 232 ; 
ed. Mil. ii. 49, 69, 261; C. & C., Italy, ii. 
32. 

BICKER. See Miel. 

BIEFVE, EDOUARD DE, born in 
Brussels, Dec. 4, 1809, died there, Feb. 
7, 1882. History painter ; pupil of Brus- 
sels Academy, then in 1828-30 of Paelinck ; 
went in 1831 to Paris, where he remained 
ten years, sending his works to the exhibi- 
tions in Antwerp, Ghent, and Brussels. His 
masterpiece, Compromise of the Nobles at 
Brussels in 1566 (Brussels Museum and 
National Gallery, Berlin), exhibited in Ghent 
in 1841, and which won him the gold 
medal, was exhibited throughout Germany. 
Member of the Berlin, Dresden, Munich, 


and Vienna Academies, and a knight of the 
Belgian Order of Leopold, the Bavarian of 
St. Michael, and the Prussian of the Red 
Eagle. Works: Ugolino and his Sons, 
Masaniello (1830), Execution of Anne Bo- 
leyn, Rubens presented to Charles V., Fla- 
vellation of Christ, Raphael and the Forna- 
rina, Eucharis and Telemachus, Paix des 
Dames in 1529, Charles I. decorating 
Rubens, Alva witnessing the Decapitation 
of Egmont and Horn (1852), Raczynski Gal- 
lery, Berlin; Countess Egmont after her 
Husband’s Seizure, and in the Prison after 
his Execution (1860); Council of War of the 
Duke of Parma (1862); Banquet of the 
Gueux, The Teutonic Order electing the 
Great Elector of Brandenburg their Grand 
Master.—Jordan, 51; Miiller, 51. 
BIENNOURRY, VICTOR FRANCOIS 
ELOI, born at Bar-sur-Aube, Jan. 10, 1823. 
History painter ; pupil of Martin Drolling 
and of the Ecole des Beaux Arts, where he ~ 
won the grand prix de Rome in 1842, 
Medal, 1864. Works: Rich Man and Laza- 
rus (1849); Death of St. Joseph (1855), St. 
Roch’s, Paris; Man chasing Fortune, Man 
awaiting Fortune on his Couch (1857); 
Baptism of Christ (1859); The Arts (1863); 
Christ on Mount of Olives (1864); Parthen- 
ope (1865) ; Socrates exercising Patience 
(1868) ; Ausop composing a Fable (1869). 
In fresco: The Works of Mercy, The Cardi- 
nal Virtues, St. Eustache, Paris ; Scenes in 
Lives of SS. Paul and Peter, St. Severin’s, 
ib.; Institution des Quinze-Vingts (1880), 
St. Louis Lyceum, ib.—Larousse, ii. 720. 
BIERMANN, GOTTLIEB, born in Ber- 
lin, Oct. 18, 1824. History and portrait 
painter ; pupil of the Berlin Academy and 
of Wilhelm Wach; went in 1849 to Paris, 
where he studied under ‘Cogniet, and 
thence to Italy. Studio in Berlin since 
1853; painted at first historical subjects, 
but now paints chiefly portraits, excelling 
in children’s groups and female figures. 
Member of and professor in the Berlin 
Academy. Works: Death of Gustavus 
Adolphus, Episode from Battle of Kunners- 


156 


BIERMANN 


dorf; genre scenes from Italian Life ; Vales- 
ka, the Gipsy-Queen (1877); Esther (1880). 
—Miiller, K., 50; Mlustr. Zeitg. (1882), 
1, 252 ; Rosenberg, Berl. Malersch., 323. 
BIERMANN, KARL EDUARD, born in 
Berlin, July 26, 1803. Landscape painter, 
studied from nature in Tyrol, Switzerland, 
and Italy, and became one of the founders 
of the Berlin school of landscape painting. 
He executed some of the wall paintings 
in the new Museum. Is member of and 
professor in the Berlin Academy. Works: 
Three Views from Switzerland and Tyrol 
(1830-32), National Gallery, Berlin ; View 
in Florence (1834); Milan Cathedral, Tasso’s 
Oak (1836); Evening in the High Alps; Isle 
of Phil, Temple of Edfu, Temple Courtyard 
at Karnak, Ruins of Amphitheatre at Syra- 
cuse, Berlin Museum ; sixteen views from 
Dalmatia in water colours.—Brockhaus, iii. 
36 ; Meyer, Conv. Lex., iii. 451; Miiller, 50; 
Rosenberg, Berl. Malersch., 332. 
BIERSTADT, ALBERT, born in Diissel- 
dorf, Germany, Jan. 
7, 1830. Landscape 
painter ; brought by 
his parents in 1831 
to New Bedford, 
Mass., where his 
youth was spent; be- 
gan to paint in oils 
in 1851, went to Diis- 
seldorf in 1858, stud- 
ied four years there 
and in Rome. On his return to the United 
States in 1857 he made a sketching tour in 
the Rocky Mountains, and from this and 
other visits to the West gathered materials 
for his most important pictures. Again vis- 
ited Europe in 1867, 1878, and 1883. Elect- 
ed N.A. in 1860; medals in Austria, Ger- 
many, Bavaria, and Belgium ; L. of Honour, 
1867; Order of St. Stanislaus, 1869, second 
class, 1872. The Emperor of Germany re- 
cently sent his photograph with autograph 
to Mr. Bierstadt. Studio in New York. His 
studio at Irvington, N. Y., was destroyed by 
fire in 1882 with many valuable pictures. 


Works: Laramie Peak (1861), Academy of 
Fine Arts, Buffalo; Rocky Mountains— 
Lander’s Peak (1863), James McHenry; 
North Fork of the Platte (1864), Henry 
Hilton, New York; Looking down the Yo- 
semite (1865), W. H. Crosby ; El Capitan— 
Merced River (1866), L. Tuckerman, New 
York; Storm in Rocky Mountains—Mt. 
Rosalie (1866), T. W. Kennard ; Valley of the 
Yosemite (1866), James Lenox Collection, 
New York ; Burning Ship, August Belmont, 
New York ; Settlement of California, Capi- 
tol at Washington; Emerald Pool, Mt. 
Whitney (1870), Mrs. A. T. Stewart, New 
York; In the Rocky Mountains (1871); 
Great Trees of California (1874) ; Valley of 
Kern’s River—California (1875) ; Hermitage, 
St. Petersburg; Mt. Whitney—Sierra Ne- 
vada (1877), Lewis Roberts; Estes Park— 
Colorado, Earl of Dunraven ; Mountain Lake, 
Mt. Corcoran—Sierra Nevada (1878), Corco- 
ran Gallery, Washington ; Geysers (1883); 
Storm on the Matterhorn, View on Kern 
River (1884); Discovery of Hudson River, 
Capitol at Washington. He is now (1885) 
engaged on a series of paintings represent- 
ing the wild animals of America. 

BIGG, WILLIAM RADMORE, born in 
Jan., 1755, died in London, Feb. 6, 1828. 
Genre painter ; student of Royal Academy 
in 1778; elected an A.R.A. in 1787, and 
R.A. in 1814. His Shipwrecked Sailor 
Boy, Boys relieving a Blind Man, Black 


Monday, and others, are engraved, and 
were popular.—Sandby, 1. 349. 

BIGIO, FRANCIA, ee 
born in Florence, in JG YO) 
1482, died there, Jan. KC (O y) V 
14, 1525. Florentine ( >) ) as aN 
school; real name Fran- al (a Ge 
cesco di Cristofano, but ON, (2 
commonly called Fran- (= Yu, tS 
cia Bigio, which Baldi- ~W Ss 
nucci erroneouslymakes to 
into Marcantonio Fran- ~~ eee 
ciabigi. Vasari gener- he 
ally calls him Il Francia. Pupil of Mariotto 


Albertinelli, whose style he followed, though 


157 


BIGORDI 


later he modified it by study of Andrea del 
Sarto, who became his intimate friend, im1- 
tator, and associate. Among his earlier 
works are the Annunciation (like Alberti- 
nelli), Turin Museum, and a Madonna with 
Job and John the Baptist, Uffizi, Florence. 
In 1513 he painted the Marriage of the 
Virgin in the Court of the Servi, Florence. 
The monks having removed the screens 
which concealed it before it was quite fin- 
ished, Bigio was so angry that he struck out 
the head of the Virgin and some other heads 
with a hammer. The fresco, which has 
never been repaired, is his masterpiece in 
this kind of painting. His portraits are his 
best works, some of them so fine that they 
have passed under the names of Raphael 
and of Francia. Good examples are in the 
Louvre, Pitti (his own portrait), and Berlin 
Museum. Pictures of his later 
period are: Bathsheba in the 
Bath (1523), Dresden Gallery ; 
and the Temple of Hercules, 
Uffizi, Florence—C. & C., Italy, ii. 500 ; 
Vasari, ed. Le Mon., ix. 96; Ch. Blane, Ecole 
florentine ; Baldinucci, ii. 129 ; Burckhardt, 
637; Liibke, Gesch. ital. Mal., 11. 174. 

BIGORDI, DOMENICO. See Ghirlan- 
dajo. 

BILDERS, JOHANNES WARNARDUS, 
born at Utrecht, Aug. 8, 1811. Landscape 
painter, self-taught; his conception and 
tone are suggestive of Corot. Went to Wies- 
baden in 1859, invited by the King of Hol- 
land, to paint the panorama of the ruins of 
Kloster Klarenthal, now in the Hague Mu- 
seum. Other works in Amsterdam and 
Haarlem Museums, and Carlsruhe Gallery. 
—Meyer, Cony. Lex., xvii. 143. 

BILEVELT, JOHAN, born at Maestricht, 
in 1576, died at Florence, April 25, 1644. 
Florentine school ; history painter, pupil of 
Cigoli.in Florence, whither he went with his 
father, a picture-dealer, very early in life, 
and where his name was transformed into 
Bilivelti, Biliverti, or Bilivetti. Accompanied 
Cigoli to Rome to assist in the decoration of 
St. Peter's, and completed several of the 


pictures after that master’s death. With the 
qualities of Cigoli he endeavoured to unite 
the expression of Titi and the ornamentation 
of Paolo Veronese; formed several distin- 
guished pupils. Works: Elevation of the 
Cross (masterpiece), Santa Croce, Florence ; 
Holy Family, Chastity of Joseph, Judith, 
Uffizi, ib.; others in S. Gaetano, 8. Marco, 
and other churches, ib.; Christ and the 
Woman of Samaria, Vienna Museum.—Biog. 
nat. de Belgique, ii. 420; Baldinucci, No- 
tizie, xiv. 84; Lanzi (Roscoe), i. 213. 
BILLET, PIERRE, born at Cantin (Nord), 
France; contemporary. Genre painter ; 
pupil of Jules Breton. Medals: 3d class, 
1873; 2d class, 1874. Works: Young Peas- 
ant Woman (1867); Consequences of a Game 
of Cards, Waiting (1868); Mayor's Party, 
Fisher at Ambleteuse (1869), Bordeaux Mu- 
seum; Fishers in Environs of Boulogne 
(1870), Lille Museum; Waiting, High Tide— 
Coast of Normandy (1872), Luxembourg Mu- 
seum ; Return from Market, Women cutting — 
Grass (1873); Tobacco Smugglers, Women 
gathering Wood (1874); In Winter, Souvenir 
of Ambleteuse (1875); Fountain at Yport, 
Young Kitchen Gardener (1876); Shrimp 
Fishers (1883); Marsh of Arleux (1884); Re- 
turn from Seashore (1885). In the Uni- 
ted States: 
Brittany 
eae : Peasant 
Girl, Au- 
gust Bel- 
mont, New 
York; On the Seashore, C. Parsons, St. 
Louis; Noonday Rest, E. Davis, New York. 
—Menard ; Portfolio (1875), 19. : 
BILLING, LARS TEODOR, born at As- 
bo, Sweden, Oct. 6, 1817. Landscape painter; 
pupil of Stockholm Academy, but studied 
chiefly from nature. Travelled in Sweden, 
and in 1856-59 in Denmark, Germany, 
Switzerland, Belgium, and France. Works: 
Swiss Landscape, Convent on the Rhine, 
View in Norrland, Stockholm Museum ; De- 
serted Mill; Summer Evening on Malar 
Lake.—Miiller, 25. 


158 


BIN 


BIN, (JEAN BAPTISTE PHILIPPE) 
EMILE, born in Paris, Feb. 10, 1825. His- 
tory painter; pupil of Gosse, L. Cogniet, 
and Ecole des Beaux Arts, where he won the 
2d prix de Rome in 1850. His principal 
work has been the decoration of public and 
private buildings. Medals in 1865, 1869 ; 
L. of Honour, 1878. Works: “Peace, do 
not Grieve” (1861); Orpheus put to Death 
by Bacchantes (1863); Atalanta and Hippo- 
menes (1864) ; Perseus and Andromeda 
(1865), Tours Museum; Hercules killing 
his Wife and Children while Insane (1866), 
Nantes Museum; Prometheus Chained (1869), 
Marseilles Museum ; Venus Astarte (1874); 
Hail Ceesar (1875). He decorated the Poly- 
technicon in Zurich (1865-70), many of the 
ceilings of the Hétel du Louvre and of the 
Grand Hotel, Paris. —Vapereau, (1880), 219. 

BINCK, JACOB, born in Cologne between 
1490 and 1504, died in Konigsberg, 1568 or 
1569. German school; portrait painter; sup- 
posed to have been at Nuremberg and taught 
by Direr before he visited Italy at an early 
age. Included among the Little Masters, 
though portrait painting was his chief occu- 
pation, and engraving but an episode in his 
career. Appointed court painter to Christian 
IIL. king of Denmark in 1531, he several 
times absented himself from Copenhagen in 
the service of Albert of Brandenburg, which 
he finally entered in July, 1551, and thence- 
forward resided at K6énigsberg. He em- 
ployed himself in planning fortresses and 
redoubts, designing monuments, and in 
painting the portraits of his friends. Works: 
Portraits of Christian ITI. and Queen Doro- 
thea, Copenhagen Museum. — Fine Arts 
Quarterly (1864), 372; Scott, 115 ; Kugler 
(Crowe), i. 184; W. & W., ii. 491; Allg. d. 
Biog., ii. 642; Merlo, 35. 

BINDER, JOSEF, born in Vienna, Feb. 
15, 1805, died there, April 16, 1863. His- 
tory painter; studied in Vienna and in 
1827-34 in Munich. Painted at first por- 
traits, then historical subjects, in which he 
excelled. In1836he became professor at the 
Stidel Institute in Frankfort, but returned 


to Vienna in 1847; became member of the 
Academy in 1848, and professor in 1851. 
Works: Elopement of Psyche (1832); Angels’ 
Watch (1836); Three Magi (1846); Emperor 
Albrecht IL, Kaisersaal, Frankfort; Madon- 
na; Conversion of Julian ; Door-Keeper of 
Heaven ; St. Florian ; St. Catherine of Siena 
visiting poor Family; St. Eustachius Hunt- 
ing, Romulus and Remus, Vienna Museum. — 
—Meyer, Con. Lex., iii. 488 ; Wurzbach, 1. 
400. 

BINET, ADOLPHE GUSTAVE, born at 
La Riviére-Saint-Sauveur (Calvados); con- 
temporary. Genre and portrait painter ; pu- 
pil of Gérdéme. Medal, 3d class, 1885. Works: 
The Omnibus (1881); Avenue des Champs- 
Elysées, The Villagers (1882); Idleness, Cor- 
ner of the Meadow (1883); Cab-Stand at Quai 
de VHotel de Ville, Sand-Loaders at Quai 
d’Austerlitz (1884); Timber Wagon at Mont- 
rouge, Les Anes de Robinson (1885). 

BINET, VICTOR JEAN BAPTISTE 
BARTHELEMY, born at Rouen ; contem- 
porary. Landscape painter. Medal, 3d 
class, 1882. Works: Seine at St. Aubin 
(1880) ; Cédte-Pelée (1881); Passing Wave, 
Old Road of Arcueil (1882); Corner of 
Orchard at St. Aubin-sur-Quillebeuf (1883) ; 
On the Heights of Heurteauville, Morning at 
St. Aubin (1884); Old Road near Bicétre, 
September Morning (1885). 

BING, VALENTIN, born at Amsterdam, 
April 22,1812. History and genre painter; 
pupil of Kruseman ; since 1838 his pictures 
have met with great success at exhibitions 
in Holland. Works: Mark the Evangelist ; 
Isaac and Rebecca; John the Evangelist ; 
Woman from Isle of Schockland.—Miiller, 
52. 

BIRCH, THOMAS, born in London, 
England, in 1779, died in Philadelphia in 
1851. Portrait and marine painter; came 
to America in 1793. Painted portraits in 
Philadelphia until 1807, when a visit to the 
Capes of Delaware turned his attention to 
marine painting. He was also successful in 
snow-scenes. Works: Engagement between 
United States and Macedonian; Engage- 


159 


BIRD 


ment between Constitution and Guerriere ; 
Engagement between Wasp and Frolic, Har- 
rison Collection, Philadelphia ; three Marine 
Views, Claghorn Collection, Philadelphia. 
BIRD, EDWARD, born at Wolverhamp- 
ton, England, April 12, 1772, died at Bristol, 
Nov. 2, 1819. History and genre painter ; 
after learning to paint landscapes, fruits, and 
flowers on Japan ware became a drawing 
master, and in 1807 exhibited some pictures 
at Bath which brought him into notice. His 
first works were genre subjects, such as The 
Blacksmith’s Shop, The Young Recruit, and 
The Country Auction, but he soon began to 
paint religious and historical subjects with 
such success that he was appointed painter 
to the Princess Charlotte, and became in 
1812 an A.R.A., and in 1815 RA. Still, 
his earlier works are the best, his more am- 
bitious conceptions being beyond his ability 
to complete. Works: Raffle for the Watch, 
National Gallery ; Day after Chevy Chase, 
Death of Eli, Stafford House, London; 
Queen Philippa supplicating for the Lives of 
the Burghers of Calais (1814); Crucifixion 
(1817); Death of Sapphira (1818).—Nat. 
Gal. Cat.; Cunningham; Art Union, 1843, 
92; F. de Conches, 329; Ch. Blane, Ecole 
anglaise ; Redgrave ; Sandby, i. 352. 
BISET, KAREL EMANUEL, born at 
Mechlin, baptized Dec. 26, 1633, died at 
Breda in 1680. Flemish school; genre and 
portrait painter ; went early to Paris, where 
his pictures, representing festal assemblies, 
balls, etc., were much in vogue; returned 
to Flanders and entered the service of 
Comte de Montérey, Governor of the 
Netherlands; settled soon after at Ant- 
werp, where he was received into the guild 
in 1661; became a citizen in 1663, and dean 


CLE ae 


of the guild, and director of the Academy in 
1675. Works: Tell shooting at the Apple 
on his Son’s Head, Brussels Museum ; 


Flemish Interior, Rotterdam Museum.— 
Biogr. nat. de Belgique, 11. 440; Fétis, Cat. 
du Musée Royal, 253. 

BISI, LUIGI, Cavaliere, born in Milan, 
May 10, 1814. Architecture and landscape 
painter; pupil of Fr. Durelli at Milan 
Academy, of which he became professor of 
perspective, and later, president. Paints 
chiefly interiors. Works: Interior of Milan 
Cathedral (1840), Vienna Museum ; Orsan- 
michele in Florence, National Gallery, Ber- 
lin; S. Marco, Milan Cathedral, in Milan 
Academy ; View of Bellagio; Choir in St. 
Ambrosius, Milan; Interior of 8. Michele, 
ib.; Church of St. Francis of Assisi, Amster- 
dam Exposition, 1883.—Wiirzbach, i. 411. 

BISPHAM, HENRY COLLINS, born in 
Philadelphia, June 9, 1841, died in Rome, 
Dec. 22,1882. Animal painter; pupil in Phil- 
adelphia of Edmund D. Lewis and William 
T. Richards, and studied in Paris under Otto 
Weber and E. van Marcke. Professional 
life passed in Philadelphia, New York, Paris, . 
and Rome ; served in army in 1862, in the 
Cumberland Valley, in Pennsylvania, and in 
Maryland. Was successful in the delineation 
of wild animals and cattle. Works: Cay- 
alry Raid (1863); Dead in the Desert, 
Roman Bull (1867); Roman Wine-Cart 
(1868); On the Campagna, To the Front, 
Noonday Rest (1869); Hunting Dogs, Four- 
in-Hand, Polo (1870); Hunted Down (1871); 
The Stampede (1872); Misty Day (1873); 
Ross Castle (1874); Study of Figures (1875); 
The Lion “Sultan” (1879); Pennsylvania 
Academy; Valée du Var (1880); Roman 
Oxen Ploughing (1881); Friendly Over- 
tures, Roman Horses (1882). 

BISSCHOP, CHRISTOPH, born at Leeu- 
warden; contemporary. Genre painter ; 
pupil in Paris of Comte and Gleyre. Lives 
at The Hague. Works: Rembrandt going 
to Lecture on Anatomy (1867); Burgomas- 
ter’s Daughter, Cradle-Painter (1872); Cu- 
riosity-Shop ; The Victim ; Christening Day 
in Friesland; Wedding Day; Winter in 
Friesland ; The Prisoner’s Song ; The Lord 
has given, the Lord has taken away (1880) ; 


160 


BISSOLO 


The Critical Moment, Crown-Jewels, Visit to 
Grandmamma (1883).—Miiller, 52. 
BISSOLO, PIETRO FRANCESCO, born 
in Treviso. Venetian school; painted from 
about 1490 to 1530; pupil of the Bellini ; 
fellow-labourer of Catena and Marco Marzi- 
ale in the Sala del Gran Consiglio in 1492. 
He ranked among the better followers of 
Giovanni Bellini, and probably helped him 
in many of his pictures. His earliest known 
work, the Annunciation, Manfrini Gallery, 
Venice, shows careful and conscientious 
work, but a lack of strength. ‘The Resur- 
rection in the Berlin Museum is one of his 
most agreeable works, and his best exam- 
ple out of Italy. One of his largest altar- 
pieces is Coronation of St. Catherine of 
Siena, Venice Academy. Thought by C. & 


PETRVS-DE-INGANATIS+ P -” 
©. to be identical with Pietro de’ Ingannati, 
author of a Madonna in Berlin Museum.— 
©. & C., N. Italy, i. 286; Burckhardt, 602 ; 
Lermolieff, 179, 412; Liibke, Gesch. ital. 
Mal., i. 554. 

BITTERLICH, EDUARD, born at Stup- 
nicka, Galicia, in 1840, died at Pressbaum, 
near Vienna, May 20, 1872. History paint- 
er; pupil in Vienna of Waldmiiller; be- 
came afterwards the most prominent assist- 
ant of Rahl, after whose death he executed, 
with Griepenkerl, that master’s composi- 
tions for the new Opera House. Works: 
Pompeian Scenes, Palazzo Ypsilanti ; Twen- 
ty Lunettes, Dining Room, Grand Hotel ; 
The Arts, Tietz Mansion ; Paintings in Pal- 
ace Epstein, all in Vienna.—Kunst-Chronik, 
vii. 37. 

BIZZERA. See Becerra. 

BLAAS, EUGEN, born at Albano, near 
Rome, July 24, 1843. History painter ; son 
and pupil of Karl Blaas ; studied at Ven- 
ice Academy, and at the Vienna Academy, 
whence he went to Rome and Paris as Aus- 
trian pensionary. Visited afterwards Bel- 
gium and England, and settled in Venice, 
whence he draws most of his subjects. 
Works: Conversion of the Retians by. St. 


Valentine, Introduction of Decameron Gi- 
otto and Cimabue, Faust and Marguerite, 
Dogaressa going to Church, Bridal Proces- 
sion in 8. Marco, Venetian Masquerade, 
The Page, Scene from Decameron, Venetian 
Balcony Scene, Serious Story, Excursion to 
Murano, Vienna Museum.—Kunst-Chronik, 
xili. 876 ; Miiller, 53; Illustr. Zeitg. (1871), 
ii, 238 ; (1883), 1. 525; 11. 403. 

BLAAS, JULIUS, born at Albano in 1843. 
Animal painter, especially of horses ; son 
and pupil of Karl B., went to Rome, where 
he painted genre scenes from the Cam- 
pagna; afterwards made a trip around the 
world. Works: Race of Intoxicated Sla- 
vonic Peasants (1860), Vienna Museum ; 
Fox and Stag Hunts, Horse-herds, ete. 

BLAAS, KARL VON, born at Nauders, 
Tyrol, May 28, 1815. History painter ; 
pupil of Venice Academy under Lipparini, 
then in Florence and Rome, where, influ- 
enced by Overbeck and Koch, he devoted 
himself to ecclesiastical art, and genre scenes 
of a ritual character. In 1850 he was ap- 
pointed professor at the Vienna Academy, 
painted several frescos in the Alt-Lerchen- 
feld church, and accepted in 1855 the nomi- 
nation as professor at the Venice Academy. 
Some years later he began to execute for 
the Vienna Arsenal forty-two fresco paint- 
ings, from Austrian history, which occupied 
him eleven years. Recently he has, besides 
portraits, painted genre and mythological 
scenes. Works: Tullia driving over her 
Father’s Body (1832); Miracle of Roses, 
Return of Jacob from Laban (1841), Vienna 
Museum ; Madonna in Glory, St. Catherine 
borne by Angels, Christ at Emmaus, Christ 
on Mount of Olives, Mass for Reapers in the 
Campagna, thirty-three frescos for church at 
Féth, near Pesth, Charlemagne visiting 
Boys’ School, Vienna Museum ; Portrait of 
Cardinal Primate of Hungary (1854); Rape 
of Venetian Brides in 6th century (1858), 
Innsbruck Museum; forty-two scenes in 
fresco, Vienna Arsenal ; Rape of a Nymph, 
Danaé, Nymph and Satyr; Sunday Morning 
at Albano (1879) ; Adam and Eve, C. C. Per- 


161 


BLACHE 


kins, Boston. Portraits of Francis Joseph I. 
and of Queen of Spain.—Miiller, 53 ; Ilustr. 
Zeitg. (1880), ii. 258. 

BLACHE, CHRISTIAN VIGILIUS, born 
at Aarhus, Denmark, Feb. 1, 1838. Marine 
painter and illustrator; pupil of Copen- 
hagen Academy; visited Holland, France, 
Italy, and Germany in 1872-73, Paris in 
1878. Works: Seaport (1863); View at 
Begtrupvigen (1864), Copenhagen Gallery ; 
Danish Men-of-War (1865); High Tide near 
Kronborg (1869); On the Coast of Scheven- 
ingen ; Life-Boat ; Steamboat in Heavy Sea 
(1879); Soren Kannel (1877); Squadron 
(1880); Schooner passing Skagen (1881); 
Calm Sea with Lighthouse on Scotch Coast 
(1882).—Sigurd Miller, 26 ; Weilbach, 71. 

BLACK BRUNSWICKERS, John Ever- 
ett Millais, private gallery, England. The 
parting between a young officer of the 
Brunswick Hussars and his wife or fiancée, 
perhaps in 1815, when the Brunswick troops 
marched to join the British army. The 
black uniform, faced with light blue, was a 
mourning habit which the corps bound 
themselves to wear until they had avenged 
the death of their late Duke. On the wall 
is hung the engraving of Napoleon crossing 
the Alps. Companion to the Huguenot 
Lover. Royal Academy, 1860.—Art Journal 
(1860), 162. 

BLACKBURN, JONATHAN B., born in 
Connecticut about 1700, died after 1760. 
Portrait painter ; worked from 1750 to 1765 
in Boston, which he left, it is conjectured, 
because he felt himself outdone by Copley, 
who is said to have been his pupil. Por- 
traits: Joseph and Mrs. Allan (Miss An- 
drews, Boston) ; Mr. Amory (Ed. Sohier, 
Longwood) ; Ch. and Miss Apthorp (Mrs. T. 
Swett, Boston) ; Col. and Mrs. Th. Atkinson 
(Mrs. M. W. Tredick, Nokesville, Va.) ; Th. 
Atkinson, Jr. (F. A. Freeman, Hanover, N. 
H.); Mrs. R. Ball (W. H. Edes, Charlestown); 
Mrs. Barrell (Miss Barrell, York, Me.) ; Mrs. 
Th. Bulfinch (Mrs. T. Swett, Boston) ; Mrs, 
Cabot (Geo. G. Lowell) ; Members of Cun- 
ningham family (Mr. A. 8. Parker, Boston) ; 


two half-length portraits (Dr. Dearing, 
Utica, N. Y.) ; Mr. and Mrs. J. Ewing (Mrs. 
S. Ewing, Boston); James and Mary Flag 
(Rev. Geo. E. Ellis); Ellis Gray (W. F. 
Cary, Boston) ; Mr. and Mrs. W. and Mrs. 
J. Greenleaf (R. C. Greenleaf, Boston) ; Mr. 
and Mrs, B. Hall (Dr. Hall Curtis, Boston) ; 
Rey. J. and Mrs, Hancock (Public Library, 
Lexington) ; Mr. and Mrs. D. Henchman 
(D. Henchman, Boston): Mr. and Mrs. R. 
Inman (W. Amory, Boston) ; Judge Lowell 
(A. Lowell, Boston); Wm. A, and Mrs. Oliver, 
Jr. (Dr. F. E. Oliver) ; James Otis (1755), 
Mr. G. Phillips (Mrs. W. E. Fette); Mrs. 
Phillips (Mrs. M. A. Jones, Boston); Mr. 
and Mrs. B. Pollard (Miss M. V. Winslow, 
ib.) ; Saltonstall family (R. W. Hubbard, 
Brooklyn, N. Y.); Margaret Temple (Hon. 
R. C. Winthrop, Boston) ; P. Tracy (P. T. 
Jackson, Boston) ; Edward Winslow, Gen. J. 
Winslow (Mass. Hist. Soc.) ; Joshua Wins- 
low (Miss M. V. Winslow) ; Winslow family 
picture (1757, S. W. Winslow, Boston) ; 
Mr. E. 8. Winslow (Arthur Pickering, Rox- 
bury).—A. T. Perkins, Sketches of Black- 
burn and Smibert, Proceedings Mass. Hist. 
Soc. (1878), viii. 385. 

BLACKSTADIUS, JOHAN, born at Fal- 
kenberg, Sweden, March 14, 1816. His- 
tory painter; pupil of Stockholm Academy ; 
painted portraits and altarpieces in Finland, 
in 1845-50, visited Paris and Italy, and re- 
turned to Sweden in 1854 via Switzerland 
and Germany. Fellow of Stockholm Acad- 
emy. His principal work is St. Siegfried 
baptising in Gothland.—Miiller, 54. 

BLAKE, WIL- 
LIAM, born in Lon- 
don, Nov. 28, 1757, 
died there, Aug. 12, 
1827. Designer in 
water-colours ; stu- 
dent in drawing at 


Mee at 
ieee SS Pars’ school ; when 
SS \ 
SKY, LK fourteen years old 
Fs \ apprenticed for sev- 


en years to James 
Basire, engraver ; afterward studied in An- 


162 


BLAKELOCK 


tique School of Royal Academy. Began by 
making designs for book illustrations, of 
which he published a great number, many 
of them in colours. ‘He exhibited a few 
works at the Royal Academy, among them 
Death of Earl Godwin (1780); Breach in a 
City the Morning after Battle, War un- 
chained by an Angel (1784); History of Jo- 
seph (1785); Last Supper (1799); Jacob’s 
Dream, Christ in Sepulchre guarded by 
Angels (1808). In the National Gallery is 
his Spiritual Form of Pitt guiding Behe- 
moth. Hc also published many works en- 
graved by himself, and poems illustrated by 
himself,—Gilchrist, Life (London, 1863); 
Swinburne, Life (London, 1868); Cat. Nat. 
Gal.; C. Carr, Essays, 35 ; Rossetti, Memoir 
in his edition of Blake’s Poems ; Portfolio 
(1876), 67. 

BLAKELOCK, RALPH ALBERT, born 
in New York, in 1847. Self-taught. Stu- 
dio in New York. Works: Indian Girl— 
Uinta Tribe, T. B. Clarke, New York ; Story 
of Buffalo Hunt, Shooting the Arrow (1880); 
Cloverdale—California, Moonlight, Indian 
Fisherman (1882); ‘Cool wooded shades, 
abode of stately deer,” Bannock Wigwam 
in Peaceful Vale (1883). 

BLANC, LOUIS AMMY, born in Berlin, 
Aug. 9, 1810, died in Diisseldorf, April 7, 
1885. Genre and portrait painter ; pupil, 
from 1829, of the Berlin Academy, and 
from 1833, under Hiibner, of the Diissel- 
dorf Academy; painted at first subjects 
from medisval romance, then portraits in 
Hanover in 1840-42, and in Darmstadt in 
1846-47 ; visited England and France in 
1857. Works: Praying Woman, The 
Church-Goer (1835) ; Goldsmith’s Daughter 
(1836); Marguerite in Church (1838); Girls 
fishing (1838), National Gallery, Berlin ; 
Susanna at the Bath, Otto the Shot, Mar- 
guerite at Martha’s, Italian Shepherd-Boy, 
Girl fallen Asleep, Expectation, Red Riding- 
Hood.—Meyer, Conv. Lex., iii. 539 ; Miiller, 
54. 

BLANC, PAUL JOSEPH, born at Mont- 
martre (Paris), Jan. 25, 1846. Genre 


painter ; pupil of Bin and Cabanel. Won 
the prix de Rome in 1867. Medals: 1870; 
1st class, 1872 ; 2d class, 1878 ; L. of Hon- 
our, 1878. Works: Thetis taking to Achil- 
les the Arms forged by Vulcan, Murder 
of Laius by Cfdipus (1867); The First Sin 
(1869); Perseus (1870), Luxembourg; Re- 
moval of the Palladium (1872); The Inva- 
sion (1873); The Rescue, Clovis’s Vow in 
the Battle of Tolbia and his Baptism (1876), 
sketch of paintings for the Pantheon ; Brig- © 
and’s Wife (1878), M. Pasteur ; Judith and 
Holofernes, My Lieutenant (1879); Clovis’s 
Triumph (1881); The Tiber (1885). 

BLANCHARD, EDOUARD. THEO- 
PHILE, born in Paris, April 18, 1844, died 
there, Oct. 24, 1879. Genre, history, and por- 
trait painter ; pupil of Picot and of Cabanel ; 
was third in 1866 for the grand prix de 
Rome, second in 1867, and won it in 1868. 
Medals: 2d class, 1872; Ist class, 1874. 
Works: Panel for a Dining-Room (1867); 
Death of Astyanax (1868), painted with 
Regnault and Clairin; The Courtesan 
(1872); Hylas entrapped by the Nymphs 
(1874); Cortegiana (1875); Le Lutrin (1576); 
Francesca da Rimini (1880). — Kunst- 
Chronik, xv. 107. 

BLANCHARD, (HENRI PETROS LE- 
ON) PHARAMOND, born at La Guillotiére 
(Rhone), Feb. 27, 1805, died in Paris, Dec. 
19,1873. History and landscape painter ; pu- 
pil in Paris of Chasselat and Gros; travelled 
in Spain (1833), Africa, Mexico (1838), Ger- 
many, France, and Russia (1856), and exhib- 
ited at the Salon almost every year after 
1833. Medal, 3d class, 1836 ; L. of Honour, 
1840. Works: Disarmament of Vera Cruz 
(1840), Versailles Museum ; Balboa discover- 
ing South Sea (1855), bought by State ; Val- 
ley of Jehoshaphat ; March of Division of 
French Army on Mexico (1865), bought by 
Ministry of Fine Arts.—Ottley ; Vapereau 
(1865), 202. 

BLANCHARD, JACQUES, born in Paris, 
Oct. 1, 1600, died there in 1688. Pupil of 
his uncle Jérdme Bolley ; went to Lyons in 
1620, and spent four years in studying with 


163 


BLANCHET 


and assisting Horace Le Blanc; then spent 
two years at Rome, and some time at Venice, 
where bystudy 
of the old mas- 
tershe so much 
improved as a 
colourist that 
on his return 
home he was 
called the 
French Titian. 
He painted 

now destroyed 
works in the Hétel Perault and Hétel Bul- 
lion, Paris, and in Turin the loves of Venus 
and Adonis for the Duke of Savoy. Works: 
Holy Family, The Virgin and St. Anne, 
Charity, St. Paul, Louvre.—Ch. Blane, Ecole 
francaise. 

BLANCHET, THOMAS, born in Paris, in 
1617, died in Lyons, in 1689. French school; 
studied in Italy under Albani, Andrea Sacchi, 
and Poussin. After his return painted a St. 
Paul for Notre Dame (1663), and then settled 
in Lyons, where he decorated the Hétel de 
Ville, and founded an Academy (1681), from 
which proceeded many able artists. Nearly 
all his works were destroyed in 1793.—Ch. 
Blanc, Ecole francaise; Gaz. des B. Arts 
(1874), x. 278. 

BLANCKARTS, MORITZ, born in Dis- 
seldorf, April 16, 1839, died in Stuttgart, 
April 12, 1883. Battle painter; pupil of 
Plischke and of Vautier, then at Diisseldorf 
Academy under Christian Kohler, in 1857 of 
Leutze, and in 1858-59 of Hiinten; and 
completed his studies by travels through 
Germany and Belgium. Works: Death of 
Korner (1859); Death of Major Schill (1860); 
York at Méckern (1863); King William at 
Koniggritz (1867); Death of Col. Auerswald 
(1872); Bazaine at Marsla Tour(1873); Death 
of Col. Count Finkenstein (1874) ; Prince 
Leopold of Coburg at Kulm (1875); Depar- 
ture ; Hussars at the Inn; Crown Prince of 
Prussia greeting the Bavarians after the Vic- 
tory of Worth.—Illustr. Zeitg. (1876), ii. 
117; Miller, 55 ; Kunst-Chronik, xviii. 466. 


BLASHFIELD, EDWIN HOWLAND, 
born in New York, Dec. 25, 1848. Subject 
painter; pupil of Bonnat in Paris. Visited 
Europe in 1867, remaining abroad eleven 
years. Member of Society of American Ar- 
tists. Elected an A.N.A. in 1882. Studio 
in New York. Works : Emperor Commodus 
leaving the Amphitheatre at the head of 
the Gladiators (1878); Roman Woman (1879); 
The Besieged (1880); Souvenir of Mentone; 
Toreador (1881); Music, Suspense, Autumn 
(1882); Allegretto, Andante, Minute Men 
(1883) ; Decorative Panels, Morning, ete. 
(1884), H. McK. Twombly, New York. 


1847. Landscape painter; pupil in Vienna 
of August Schiffer, and in Munich of Linden- 
schmit. Has travelled in Bohemia, Hun- 
gary, Holland, and repeatedly visited Italy. 
Works: Regulation of the Danube near Vi- 
enna; Autumn in the Prater; Canal near 
Amsterdam ; Autumn Day in Holland ; Arch 
of Titus in Rome; Street in Venice ; View 
near Szolnok ; Bavarian Landscape ; Outside 
the City; Rain and Sunshine; Field-Flowers, 
April-Day, Spring in the Prater (1883).— 
Miiller, 55. 

BLAUVELT, CHARLES F., born in New 
York, in 1824. Genre painter ; pupil of the 
National Academy, and of Charles L. Elliot. 
Professional life passed in New York and 
Philadelphia. Elected N.A. in 1859, mem- 
ber of Pennsylvania Academy in 1864, made 
assistant professor of drawing at the United 
States Naval Academy, Annapolis, in 1878. 
Works: Warming Up; Lost Child ; Night 
Signal; Waiting for the Train; Inquiring 
the Way ; Preparing for School ; Snowed In ; 
Burned Out; Entrance to Old Fort Severn 
—Annapolis (1880). 

BLECHEN, KARL EDUARD, born at 
Kottbus, July 29, 1798, died in Berlin, July 
23, 1840. Landscape painter ; studied at 
the Berlin Academy. In 1827 went to Italy 
and thenceforth painted chiefly Italian land- 
scapes. From 1830 he taught at the Berlin 
Academy, of which he was made member 
and professor in 1835. Works: Camp near 


164 


BLAU, TINA, born in Vienna, Nov. 15, 


gd Lal 


BLEIBTREU 


Miiggel Lake, Villa Este, View near Narni, 
Bathing Nymphs, Villa Borghese, Swiss Win- 
ter Landscape, View of Naples, Bay of Spez- 
zia ; View at Tivoli, National Gallery, Berlin. 
—Allgem. d. Biogr., ii. 700; Rosenberg, Berl. 
Malersch., 329. 

BLEIBTREU, GEORG, born at Xanten, 
March 27, 1828. Battle painter ; pupil of 
-Disseldorf Academy in 1843-48, and again, 
shortly after, under Theodore Hildebrandt ; 
first won success with scenes from the 
Danish war. Later painted battles from the 
wars of Frederick the Great and the German 
war of deliverance. In 1858 he moved to 
Berlin, accompanied in 1866 the Prussian 
army in the suite of Prince Frederick 
Charles, and in 1870 in that of the Crown 
Prince. Member of Berlin Academy in 

1869. Works: Battle of Kolding, Destruc- 
tion of the Kiel Turner-Corps at Flensburg 
(1852); Battles of Grossbeeren, on the Katz- 
bach (1857); Battle of Aspern, Storming the 
Grimma Gate in Leipsic, Duke Ferdinand of 
Brunswick in Battle of Crefeld (1858); Epi- 
sode from Battle of Waterloo (1858) ; Skir- 
mishes on Konigshiigel at Oeversee ; Cross- 
ing to Alsen, Battle of Koniggrdiz, National 
Gallery, Berlin ; The Bavarians before Paris, 
Surrender of Napoleon after Sedan, Meeting 
of Moltke and Wimpffen, King William 
near a Battery before Paris, King William 
after Battle of Gravelotte, Napoleon’s Flight 
after Battle of Waterloo (1878) ; Attack 
of Saxon Corps at St. Privat (1880); Storm- 
ing of Fréschweiler by the Wiirtemberg 
Troops (1880); The Summons in 18138 
(1881), Arsenal, Berlin.—Brockhaus, ii. 
156; Miller, 56; Rosenberg, Berl. Malersch., 
157. 

BLEKER, DIRCK, born at Haarlem, 
flourished about 1650. Dutch school ; his- 
tory and portrait painter, strongly suggest- 
ing the school of Rembrandt; became a citi- 
zen of Amsterdam in 1652,and, to judge from 
the prices paid for his pictures, was among 
the most esteemed artists of his time. 
Works: Mary Magdalen (1652); Venus; 
Danaé; Male portrait (1657), Brunswick 


Gallery.—Kramm, vii. 14; Riegel, Beitrage, 
ii, 282; Willigen, 82. 

BLEKER, GERRIT CLAESZ, flourished 
at Haarlem, died there, buried Feb. 8. 
1656. Dutch school; history and landscape 
painter; formed probably under the influence 
of Cornelis van Haarlem and of Lastmann, 
later under that of Rembrandt. Works: 
Conversion of Saul, Rotterdam Museum ; 
Paul and Barnabas at Lystra (1634), Bruns- 
wick Gallery ; Tobias and the Angel, Pesth 
Museum.—Bodé, Studien, 348 ; Riegel, Bei- 
triige, ii. 223; Willigen, 81. 

BLES, DAVID, born at The Hague, 
Sept. 19, 1821. Genre painter; pupil of 
Kruseman; studied in 1841-43 in Paris, 
and visited afterwards Belgium and Eng- 
land. Paints chiefly humourous subjects. 
Order of Iron Crown (1850), Leopold (1855), 
L. of Honour (1870). Works: Young 
Household, Imagined Sickness of the Pas- 
tor (1848); Three Mothers, Flower Girl 
(1855); Diana in Painting, Diana in Life, 
Amateur Concert (1860); German Dining 
Room in 1795 (1862); Forbidden Novel 
(1863); Children’s Duet, Precocious Lover, 
Siesta, Clandestine Correspondence (1864); 
Empty Place at Hearth (1868); Friends of the 
Family (1877); Dutch Booth in 1765 (1879). 
—TLarousse ; Miiller, 57. 

BLES, HERRI DE (Hendrik met de 
Blesse, Henricus Blesius), called also Ci- 
vetta, born at Bouvignes, near Namur, 
about 1480, died probably at Liege, about 
1550 (? after 1521). Flemish school ; land- 
scape and history painter, in the manner of 
Joachim Patenier, representing one of the 
last branches of the Van Eyck school, and in 
other respects the transition to the Italian- 
ized Flemish style of the following period. 
Lived also in Italy, painted at Venice and 
Brescia, and was of Mechlin in 1521 (?). 
His pictures (marked by the owl, whence 
the nickname Civetta), show an earlier and 
a later period ; the former characterized by 
great carefulness, the latter by exaggeration 
of naturalistic tendency. The colouring is 
usually grey, in his late examples cold and 


165 


BLESSING 


unpleasant in tone. Works: Christ on 
the Cross, The Magdalen, St. Christopher 
carrying Infant Christ (attributed to Pate- 
nier), National Gailery, London ; Tempta- 
tion of St. Anthony, Brussels Museum ; 
Repose in Egypt, Antwerp Museum ; Holy 
Family, Basle Museum; St. Hubert Hunt- 
ing, Maurice Chapel, Nuremberg; Adoration 
of the Magi (signed: Henricus Blessius F.), 
Angelic Salutation, Old Pinakothek, Mu- 
nich; Male portrait with landscape, Berlin 
Museum ; Pedler robbed by Monkeys, Dres- 
den Gallery; Flight into Egypt (?), St. 
John Preaching, Good Samaritan, Walk to 
Emmaus, Repose in Egypt (called style of 
Patenier), Museum, Vienna ; Christ bearing 
the Cross, St. John preaching, Academy, ib.; 
St. Jerome in the Desert (attributed to Pate- 
nier), Liechtenstein Gallery, ib.; Dante’s In- 
ferno, Doge’s Palace, Venice; Tempta- 
tion of St. Anthony, Museo Civico, ib.; 
Tower of Babel, Academy, ib.; Madonna, 
Working a Mine, Uffizi, Florence ; Christ 
bearing the Cross, Palazzo Doria, Rome ; 
Landscapes (5), 
Naples Museum; 
Adoration of the 
Magi (?), Milan 
Academy; do. 
and Landscape 
(attributed to 
Patenier), Ma- 
drid Museum.—Biogr. nat. de Belgique, ii. 
471; Michiels, iv. 368, 391; ix. 115; Rie- 
gel, Beitrage, ii. 44 ; Rooses (Reber), 114; 
W. & W., ii. 522+ Zeitschr. fb. K., xv. 
128. 

BLESSING THE HARVEST, (Bénédic- 
tion des blés), Jules Breton, Luxembourg 
Museum ; canvas, H. 4 ft. 3 in. x10 ft. 5 in. 
Ceremony of blessing the harvest in Artois. 
A procession, headed by young girls in 
white, followed by the priest under a canopy 
attended by choir boys, the village officials, 
and peasants in their old-fashioned holiday 
clothes, pass through the fields; in fore- 
ground, women and children kneeling. 
Salon, 1857.—Meyer, Gesch., 642. 


BLIND FIDDLER, Sir David Wilkie, 
National Gallery, London; wood, H. 1 ft, 
11 in. x2 ft. 7 in. An itinerant musician, 
seated at left, entertaining a cottager and 
his family by playing on his fiddle. Twelve 
figures ; accessories very elaborate. Painted 
in 1807 for Sir George Beaumont, who pre- 
sented it in 1826. Engraved by J. Burnet, 
T. Nicholson.—Cat. Nat. Gal.; Heaton, 
Works of Sir D. W.; Mollett, 26 ; Waagen, 
Art Treasures, i. 376. | 

BLIND-MAN’S-BUFF, Sir David Wilkie, 
Buckingham Palace; canvas. Cottagers 
playing blind-man’s-buff in a_ kitchen. 
Painted in 1812 for George IV. when Prince 
Regent, who paid for it 300 guineas. Loan 
Exhibition, Edinburgh, 1883. Original 
sketch (1811) in National Gallery. En- 
eraved by A. Raimbach, W. Greatbach.— 
Heaton, Works of Sir D. W.; Mollett, 42, 
46; Waagen, Art Treasures, ii. 25; Art 
Journal (1860), 108. 3 

BLOCH, ALEXANDRE, born in Paris; 
contemporary. Landscape and genre paint- 
er; pupil of Gérédme and Bastien-Lepage. 
Medal, 3d class, 1885. Works: At the 
Antiquary’s (1880); Banks of Seine at Vaux 
(1881), M. Deloriere; Crab Fisherman, Mill 
of Jarcy (1882); Willows of Bonneuil, Che- 
min du Chapitre at Crétail (1883); Place de 
la Chapelle—Paris, Brook of Moc-Souris— 
Morbihan (1884); Defence of Rochefort-en- 
Terre—April 29, 1793 (1885). 

BLOCH, KARL HEINRICH, born in 
Copenhagen, May 23, 1834. Genre and his- 
tory painter ; pupil of Copenhagen Acad- 
emy; studied from nature among peas- 
antry of Zealand and on coast of Jut- 
land, and soon acquired reputation for hu- 
mourous pictures. Studio in Rome from 
1859 to 1865. Since then has painted 
mostly historical subjects. He is a member 
of and professor at the Copenhagen Acad- 
emy. Medals in 1852, 1853, 1864; Order 
of Danebrog, 1867. Works: Peasant’s 
Cottage (1854); Fisherman’s Family on 
Shore (1858); Repast (1859); Fisherman 
from Sorrento (1861), Copenhagen Gallery; 


166 


BLOCK 


Old Bachelor, Two Monks (1862); Samson 
at the Mill (1863), Daughter of Jairus 
(1864), Copenhagen Gallery ; Roman Street 
Barber (1864); Prometheus (1864); Twenty- 
two Scenes from Life of Christ (1866-84), 
Chapel of Castle Fredericksborg ; Christ 
and the Children, Christ the Consoler, 
Christ at Emmaus, Christ at Gethsem- 
ane, Resurrection, St. Jacob's Church, 
Copenhagen ; Samson and Delilah (1874) ; 
Fishseller Woman (1875), Copenhagen Gal- 


‘ 
ae 


AAA THEY fh 


ee in 


Blind-Man's-Buff, Sir David 


lery ; Hans Tavson protecting Bishop Ron- 
now, James of Scotland visiting Tycho de 
Brahe, Chancellor Niels Kaas and his 
Ward, Prince Christian, King Christian 
as Prisoner in Sonderburg, Interior in 
Time of Christian IV. (1881). — Sigurd 
Miller, 33; Weilbach, 72; Zeitschr. f. b. 
_K, xviii. 37. 

BLOCK, EUGENIUS FRANS DE, born 
at Grammont, East Flanders, May 14, 1812. 
Genre painter ; pupil at Ghent of Van Huffel, 
and in Antwerp of Braekeleer; since 1833 
has exhibited genre scenes from low life, 


partly serious, partly humourous. Medal, 
Paris, 1842; L. of Honour, 1846. Works. 
Flemish Inn (1833) ; Musical Party, Grand- 
father’s Visit, Tavern-Interior, Rural Feast 
near Antwerp (1836); Politicians, Going 
Home from School (1855) ; Poacher’s Wife, 
Hunter’s Boy (1859) ; Flower Girl, Indiscreet 
Belles (1860); Reading the Bible, Sunday, 
Cold and Hunger (1862) ; The Smith, He is 
coming !—Art Journal (1866), 73 ; Immer- 
zeel, 1. 59; Kramm, 1. 100. 


: ee - 2 ee 
ae Giese Pee 2 


Wilkie, Buckingham Palace. 


BLOEMAERT, ABRAHAM, born at Gors 
cum, Dec. 25, 
1564, died at Ut- 
recht about 1658. 
Dutch school; 
history, portrait, 
and landscape 
painter ; pupil of 
Joost de Beer at 
Utrecht, and, af- 
ter having stud- 
iedin Parisunder 
different masters in 1581-84, of Hierony- 


167 


BLOEMEN 


mus Francken at Herenthals; returned 
to Utrecht, where, having for some time 
lived at Amsterdam (citizen there in 1591), 
he settled again before 1600, and is men- 
tioned as member and dean of the guild in 
1611-28. Treated all branches of painting 
from religious subjects down to still-life. 
Works: Ave Maria, Nativity (1612), Male 
portrait, Louvre, Paris; Magdalen Repent- 
ant, Nantes Museum ; Hippomenes crowned 
in the Arena (1626); Marriage of Peleus 
(1638), Hague Museum ; Diogenes and the 
Rooster, Raising of Lazarus (1607), Old 
Pinakothek, Munich; St. John preaching, 
Schleissheim Gallery ; Argus and Mercury 
(1645), Liechtenstein Gallery, Vienna ; Mar- 
tyrdom of St. Andrew (copy after Caravag- 
gio), Old Man’s Head (1635), Dresden Gal- 
lery ; Joseph’s Second Dream, Berlin Muse- 
um; Nativity, St. John preaching in the 
Desert, SS. Peter and Paul, Brunswick Gal- 


lery ; Niobe, Venus and Adonis, Hercules 

and Omphale, Copenhagen Gallery. His 

son and pupil, Hendrik, master of the guild 

at Utrecht about 1630-32, repeatedly its 

dean, and last mentioned in 1664, imitated 

at first Italian masters, afterwards Rubens. 

Works: Paul before Agrippa (1634), Maria 

van Pallaes (1657), two others, Utrecht 

Museum; 

C Male por- 

B Al R. trait (1641), 

‘ Brunswick 

Gallery ; do. (1648 ?), Dresden Gallery.— 

Ch. Blane, Ecole hollandaise ; Immerzeel, i. 

60; Kramm, i. 101; Riegel, Beitrige, ii. 
166, 181; De Stuers, 14. 

BLOEMEN, JAN FRANS VAN, called 
Orizonte, baptized in Antwerp, May 12, 
1662, died in Rome about 1740 (?). Flem- 
ish school; landscape painter, brother of 
Pieter van Bloemen, pupil of Antonius 
Goubau. Went early to Rome, where he 
painted Italian views, showing influence of 
Claude Lorrain and Gaspar Poussin. In- 
ferior to this master in grandeur of concep- 
tion, he excelled him in the delicate grada- 
tion of distance, whence called VOrizonte. 


Among his numerous works are: Six Jande 
scapes, Louvre; Flight into Egypt, Lille 
Museum ; Myth of Latona, Berlin Museum ; 
Landscape, Dresden Museum ; Landscape, 
Brera, Milan; three landscapes, Vienna 
Museum ; Armida, two others, Hermitage, 
St. Petersburg ; several in Academy of St. 


Luke and other galleries, Rome. — Biog. | 


nat. de Belgique, ii. 488; Ch. Blane, Ecole 
flamande ; Michiels, x. 334 ; Rooses (Reber), 
415. 

BLOEMEN, NORBERT -VAN, called 
Cephalus, born at Antwerp, in Feb., 1670, 
died at Amsterdam, in 1746. Flemish 
school ; younger brother of Jan; studied 
in Antwerp and in Rome; painted scenes in 
private life and portraits. —Biog. nat. de 
Belgique, ii. 491. 7 

BLOEMEN, PIETER VAN, called Stan- 
daart, born in Antwerp, baptized Jan. 17, 
1657, died there, buried March Gi eo: 
Flemish school; genre, battle, and Jand- 


scape painter ; pupil of Simon van Douw, ~ 


an imitator of Wouwerman; master of the 
guild in 1674. Spent some years in Rome, 
where he was a member of the Academy of 
St. Luke ; returned to Antwerp and was 
made director of the Academy there in 1699, 
Works: Farrier, Copenhagen Gallery ; Land- 
scapes, Stockholm Museum; Ruin with Cat- 


tle (1710), Halt before Inn (1718), three - 


others, Dresden Gallery ; two 
VR Italian Landscapes, Vienna Mu- 
seum ; Training School for Hors- 
es (1712), Hermitage, St. Petersburg.— 
Biog. nat. de Belgique, ii. 492 ; Michiels, x. 
331; Rooses (Reber), 408. 
BLOKLAND. See Montfoort. 
BLOMBERG, HUGO VON, Baron, born 
in Berlin, Sept. 26, 1820, died in Weimar, 
June 17,1871. History and genre painter ; 
pupil of Berlin Academy under Wach until 
1845, then of Léon Cogniet in Paris, in 1847. 
After performing military duty in 1849, he 
resumed his studies in Berlin and moved to 
Weimar in 1867. Works: Dornréschen 
(1844); Neptune and Amymone (1847); 
Medizeval Town, Merchant of Venice (1866); 


168 


a ae eee 


ee 


Seenaetea meee! 


BLONDEEL 


Benvenuto Cellini, King William at Koénig- 
eratz (1867).—Allgem. d. Biogr., ii. 719; 
Rosenberg, Berl. Malersch., 56. 
BLONDEEL, LANCELOT, born at 
Bruges, in 1495, died there, March 4, 1561. 
Flemish school; was a journeyman mason 
before becoming a painter, and adopted 
the trowel as his mark ; received into guild 


of St. Luke in 1530. He was an accom- 
plished architect, and his pictures are noted 
for their rich architectural backgrounds, 
often in Renaissance style, executed on 
gold ground. His figures, chiefly in the 
Italian style, are often well set in action 
and finished, but mannered and of cold 
flesh tones. Among his works are: Mar- 
tyrdom of SS. Cosmo and Damian (1523), 
S. Jacques, Bruges; 

Madonna with SS. ER S 
Luke and Eligius 

(1545), Cathedral, ib. ; \ 

St. Luke painting the 

Virgin (1545), Academy, ib.; St. Peter, Brus- 
sels Museum.—Biog. nat. de Belgique, 1. 
525; Michiels, v. 48. 

BLOOMER, H. REYNOLDS, bornin New 
York ; contemporary. Landscape painter ; 
pupil in Paris of Pelouse. Works: El Do- 
rado (1876); After the Shower, Landscape 
(1877) ; Old Bridge at Grez, Waterfall near 
Cernay-la-Ville (1878). 

BLUE BOY, Thomas Gainsborough, Gros- 
venor House, London; canvas, H. 5 ft. 9 in. 
x4 ft. Portrait of a youth, full length, 
standing in a landscape, clad in a blue satin 
Van Dyck dress. Painted, it is said, in 
1779, as a practical refutation of Reynolds’s 
theory that the cold colours, of which blue 
is the chief, cannot be used effectively in 
portrait painting. Engraved by R. Graves 
(1868); etched by ©. Waltner (1880), P. 
Rajon (1881). History obscure. Another 
Blue Boy, owned in 1873 by J. Sewell, Lon- 
don, seems to have some claims to being the 
original picture, though some think it a 
copy by Gainsborough Dupont. A third, 
smaller, is owned by Mrs. Freake.—Fulcher, 
113, 202 ; Redgrave, Century, i. 165 ; Waa- 


gen, Art Treasures, ii. 173 ; Brock-Arnold, 
42, 60; Notes and Queries, 4th S., xi. 485, 
505 ; Eng. Painters of Georgian Era, 14. 


Blue Boy, Gainsborough, Grosvenor House, London. 


BLUM, ROBERT, born in Cincinnati, 


Ohio, in 1857. First exhibited in New 
York in 1879; studied and painted in Italy, 
and Spain in 1880. Member of Society 
of American Artists. Studio in New York. 
Works: Toledo Water-Carriers, T. B. 
Clarke, New York; Going and Coming 
(1881); Bright Day at Venice (1882). 
BOAR HUNT, Velasquez, National Gal- 
lery, London; canvas, H. 6 ft. 2 in. x 10 ft. 
3 in. Philip IV. and his courtiers hunting 
wild boars in an arena enclosed by canvas 
walls, in the Pardo, a royal hunting seat two 
leagues from Madrid ; the King, with Oli- 
vares near him on a bay horse ; the Cardinal 
Infant, Don Fernando, on a white horse ; 
Juan Mateos, royal huntsman, an old man 
on a white horse with long mane ; specta- 
tors on foot and in carriages. Queen Isabel 
among the spectators in second carriage. 


169 


BOBO 


Painted about 1628; formerly in Royal 
Palace, Madrid; presented by Ferdinand 
VII. (about 1820) to Sir Henry Wellesley, 
who sold it (1846) to National Gallery for 
£2,200. Sketches in possession of Sir Rich- 
ard Wallace, Bart., and Countess Cowper, 
London.—C. Bermudez; Curtis, 23 ; Athe- 
neeum (1855), 407 (1856), 1165; Stirling, 
1840. 

BOBO DE CORIA, Velasquez, Madrid 
Museum ; canvas, H. 3 ft. 4 in. x 2 ft. 9 in. 
A jester, in green dress, seated on the floor 
of a chamber ; beside him, two gourds and 
an earthen cup. Second manner, probably 
painted between 1631 and 1649. Engraved 
by L. Croutelle ; etched by Laguillermie in 
Portfolio (1873). — Curtis, 30; Madrazo, 
633. 

BOCCACCINO, BOCCACCIO, of Cremo- 
na, born 1460, died 1518 (?). Lombard 
school; educated probably by followers of 
Mantegna at Ferrara, he was already an in- 
dependent master at Cremona in 1497, and 
had painted a series of frescos in Sant’ Agos- 
tino. In 1499 Garofalo, his apprentice, de- 
serted him and went to Rome, and at a later 
period Boccaccino followed him. Vasari 
says he painted there a Coronation of the 
Virgin in Santa Maria in Trastevere, but the 
public, who had expected great things from 
one who had criticised Michael Angelo, so 
ridiculed his work that he returned to Cre- 
mona. Between 1506 and 1518 he executed 
numerous frescos in the Cathedral, Cremona, 
and also painted important works in Venice, 
of which the Madonna with Saints in S. Giu- 
iano, and the do. with landscape and Mar- 
riage of St. Catherine in the Academy (1511) 
are good specimens. His compositions are 
scattered and his perspective sometimes bad, 
but some of his single figures are good, and 
his colouring is often rich. Ch. Blanc, who 
puts little faith in the story of Vasari, says 
that Boccaccino was one of the best Cremo- 
hese painters, and that he played the same 
rdle there that Mantegna did in Padua and 
Francia in Bologna.—C. & C., N. Italy, ii. 
441; Vasari, ed. Mil., iv. 581;Ch. Blane, Ecole 


lombarde ; Burckhardt, 611; Rio, iii. 370; 
Liibke, Gesch. ital. Mal. ii. 478. 
BOCCACCINO, CAMILLO, of Cremona, 
born 1515, died Jan. 2, 1546. Lombard 
school; son of Boccaccio Boccaccino, but 
excelled him, as he took pains to avoid the 
faults into which his father’s vanity had be- 
trayed him. Lanzi calls him the greatest 
genius of the Cremonese school. The Rais- 


ing of Lazarus and the Adulteress before — 


Christ, in Cremona, and the Four Evangelists 
in 8. Sigismondo, near Cremona, are exam- 
ples of his works.—Vasari, ed. Mil., iv. 583; 


vi. 493; C. Blanc, Ecole lombarde ; Lanzi, - 


li, 429, 7 

BOCHMANN, GREGOR VON, born at 
Nehat, Esthland, June 1, 1850. Landscape 
painter; pupil, from 1868, of the Diissel- 
dorf Academy. Studio since 1871 in Diis- 
seldorf, whence he makes annual study trips 
to his native country, and to Holland and 
Belgium. Medals in Berlin, Brusse’s, and 
Munich ; Order of Leopold. Works: Church 
in Esthland (1874); Sluice in Holland (1875); 
Potato Harvest in Esthland (1876); Wharf 
in Holland (1878), National Gallery, Berlin. 
—Brockhaus, ii. 220 ; Miller, 58. 

BOCK, HANS, middle of 16th century. 
German school; fresco painter. His colos- 
sal frescos, inside and outside the City Hall 
of Basle, despite their mannerism, are vigor- 
ously treated and have fine landscape back- 
grounds.—Kugler (Crowe), 271. 

BOCKHORST, JAN VAN, surnamed 
Langen Jan, born at Minster, Westphalia, 
about 1610, died in Antwerp, April 21, 1668. 
Flemish school; history and portrait painter; 
pupil of Jordaens; master in 1633 of the 
guild in Antwerp, where he had come early 
in life. His portraits have been compared 
to those of Van Dyck. Works: David’s Re- 
pentance, St. Michael’s, Ghent ; Martyrdom 


of St. James, St. James’s, ib.; Mar- 
tyrdom of Legion of Thebes, Lille 
Museum ; Coronation of the Vir- 


gin, Museum, Antwerp; Trip- 
tych with Resurrection, Béguinage, ib.; 
Finding of the Cross, Augustine ch., ib.; 


170 


ee ee ee eee ee 


BOC 


Mercury and Hersa, Ulysses and Achilles, Old 
Pinakothek, Munich ; Nymphs and Satyrs, 
Vienna Museum.—Biog. nat. de Belgique, 11. 
556; Gaz. des B. Arts (1872), vi. 491; Mi- 
chiels, ix. 67, 255. 

BOCKLIN, ARNOLD, born in Basle, Oct. 
16, 1827. Landscape and history painter ; 
pupil in landscape painting of Disseldortf 
Academy under Schirmer; then studied 
figure painting in Brussels. Visited Paris, 
Rome, and in 1853 Basle, whence he went 
to Munich. Became professor at the art 
school in Weimar in 1858, but resigned two 
years later and went again to Rome ; lived 
in Munich in 1871-76, and finally settled in 
Florence. Works: Venus Reposing, Pan in 
the Rushes (1857), Munich Gallery; Amazon- 
Hunt; Sleeping Satyr-Family ; Castle on 
the Sea surprised by Corsairs; Chase of 
Diana, Basle Museum ; The Gods of Greece; 
Anacreontic Shepherd-Boy ; Robbery on 
Italian Coast; Faun Family; Pieta, Por- 
trait of himself (1871); Fight of Centaurs ; 
Ceres and Bacchus; Panic Terror, Ancho- 
rite, Portrait of his Wife (1863), Villa by 
Sea (1869), Old Roman Tavern, Shepherd's 
Love Lament, Murderer and Furies, Walk 
to Emmaus, Dragon’s Den, Ride of Death, 
Wood Landscape with Nymph, Ideal Land- 
scape, Shepherdess, Sea-Idyl, Schack Gal- 
lery, Munich; Descent from Cross (1876) ; 
Isle of the Blessed (1878), National Gallery, 
Berlin ; Triton (1880).—Brockhaus, 111. 224 ; 
Miller, 58; Pecht, ii. 180; Graph. K., ii. 77; 
Grenzboten (1879), 397. 

BOCKSBERGER (Boxberger), HANS, 
born in Salzburg, in 1540. German school ; 
son and pupil of Hans Bocksberger ; painted 
chiefly battles, hunts, allegories, mytho- 
logical and historical subjects, in oil and 
water colours, but especially in fresco, dec- 
orating exteriors and interiors of houses 
in Munich, Augsburg, Ingolstadt, Ratisbon, 
Passau, Landshut, and Salzburg. Among 
his works are: Wall paintings at Castle 
Trausnitz, near Landshut, Bavaria (1579). 
—Allgem. d. Biogr., ii. 788 ; Brockhaus, 11. 
224; Nagler, Mon., i. 189. 


KLIN 


BODE, LEOPOLD, born at Offenbach, 
March 11, 1831. History painter ; pupil of 
his father, then of the Stidel Institute 
under Jakob Becker, Passavant, Eugen 
Schaffer, and from 1850 of Ed. Steinle, who 
influenced him most. In 1858 he travelled 
in Bavaria and Tyrol, and in 1860-65 as- 
sisted Steinle in his frescos in the Cologne 
Museum. In 
Switzerland. Works: Scene from Ruth’s 
History (1856); Visitation ; Workshop with 
the Cross, Chronicle of Travelling Scholar, 
Rudolf von Hapsburg (1868); Edelweiss 
and Alpine Rose ; The Alpine Bride ; Scenes 
from Legend of Charlemagne’s Birth, Schack 
Gallery, Munich.—Miller, 60. 

BODE, WILHELM, born in Hamburg, 
in 1830. Landscape painter ; pupil of the 
Vienna Academy ; lived for eight years in 
Munich; studio in Disseldorf. Works: 
Autumn Evening in the Mountains, Sunday 
Morning in Salzburg, Isar-Valley, Morning 
on the Kénigsee, View on Kochelsee, On the 
Haidlinger Heights, From the Hifel, Val- 
ley of Lauterbrunn, Morning on the Hinter- 
see, The Rampenwand near Rosenheim, 
The Hundstod, Perspective in the Bavarian 
Mountains, Mill on the Brook.—Miiller, 60. 

BODENMULLER, ALFONS, born in 
Munich, Aug. 5, 1847. Genre painter; 
pupil of Munich Academy under Ramberg 
and Lindenschmit.—Miiller, 60. 

BODENMULLER, FRIEDRICH, born 
in Munich, Aug. 11, 1845. Battle painter ; 
pupil of Munich Academy, but mostly self- 
taught. First painted genre and altar pieces, 
but, having served in the German war of 
1870-71 as an officer in the Bavarian army, 
was led to cultivate his present specialty. 
Works: Camping in the Rain, Patrol (1871); 
Fight in the Streets of Bazeilles; Camp 
near Ingolsheim; Battle of Sedan (1873), 
Munich Gallery; Battle of Worth; After 
the Battle of Worth; Camp of the French 
on the Isle of Iges; Storming of Frésch- 
weiler ; Elegy (1883).—Miiller, 60. 

BODENSTEIN, JULIUS, born in Berlin, 
Aug. 4, 1847. Landscape painter ; pupil of 


171 


1865 and 1875 he visited — 


BODMER 


Berlin Academy under Schiitze and Her- 
mann Schnee; went in 1873 to Munich, 
where he studied under Ad. Lier. Works: 
View near Trafoi with Glaciers; Approaching 
Storm in Jura Mountains ; Twenty-five Views 
in the High Alps (1879); Isle of Sylt. Exhibit- 
ed at Munich (1883) Oyster-Fishing on North 
Sea, Twilight on Isle of Sylt.—Miiller, 60. 

BODMER, KARL, born in Ziirich, Switz- 
erland, in 1805. Landscape painter, chiefly 
woods and wooded landscapes; pupil of 
Cornu. Has travelled in America and other 
countries with the Prince von Neuwied. 
Medals: 2d class, 1851; 3d class, 1855 and 
1863 ; L. of Honour, 1876. Works: Indian 
Costumes and Chiefs (1836), water colours ; 
Forest in Winter (1850), Luxembourg Mu- 
seum; Dry Leaves (1853); A Pond (1855); 
After the Rain, March Sunlight, In the 
Woods(1857); At Bas-Bréau, Morning, Even- 
ing (1859); Chickens under Shelter, Ter- 
riers in the Broom Fields, Forest of Fon- 
tainebleau, Deer Fighting (1861); Family of 
Bears in the Alleghany Mountains; Wild 
Turkeys in the Woods, View on the Mis- 
souri—water-colours (1863); Last Days of 
Autumn, Under the Trees (1865); Wild 
Boars among the Trees (1866); Shelter from 
the Snow (1867); Fox Terrier (1870); Bor- 
ders of a Swampy Forest (1872); Quarry of 
Game (1874); High Woods, Haux-Fortes 
(1875); Preliminaries of the Fight (1877); 
Group of Hack Horses, Nest of Wrens 
(1878); Boar breaking loose (1879); Volley 
of Curses (1881). His son and pupil, Henri 
(born at Barbizon), is also a landscape paint- 
er.—Larousse. 

BOE, FRANZ (DIETRICH), born at Ber- 
gen, Norway, May 28, 1820. Still-life 
painter; pupil of Copenhagen Academy, 
and of M. Groenland; settled in 1849 in 
Paris. Works: Grapes (1850), Louvre ; 
Camellias (1855); Pheasant and Partridge ; 
Eagle devouring Fox ; Fishes ; Shells ; Jew- 
elry ; Fruits ; Sea-Plants ; View of Moun- 
tains in Westenaalen (1878).—Miiller, 61. 

BOEL, PIETER, born in Antwerp, Oct. 
22, 1622, died there, Sept. 3, 1674. Flem- 


ish school; animal and still-life painter, 
pupil of Snyders, and of his uncle, Cornelis 
de Wael. Visited Italy and France, settled 
in Paris, and became court painter, and very 
popular, equalling Snyders in composition, 
and in the drawing and truth to nature of his 
animals. His picturesare rare: Sporting Dog 
guarding Game, Old Pinakothek, Munich; 
Kagle’s Repast, Antwerp Museum; Game 
Piece, Ghent Museum; Dead Game, and 
others, Madrid Museum ; Eagle devouring 
Roe, Frankfort Museum ; Boar Hunt, land- 
scape, Hague Museum. His son, Jan Bap- 
tiste Boel (1650-89), was also a painter in 
the same line.—Biog. nat. de Belgique, ii. 
581; Cat. du Mus. d’Anvers (1874), 52; 

Michiels, vii. 426 ; Rooses (Reber), 425. 
BOENISCH, GUSTAV ADOLEF, born at 
Soppau, Silesia, Aug. 22, 1802. Landscape 
painter ; pupil of Wach and of Berlin Acad- 
emy ; travelled through the mountains of 
Middle Germany and in Scan- 


dinavia. Works: MillonaPond; _ 


183 % Thuringian Village ; Bay be- 

tween Rocks; House in the 
Mountains ; Rocky Landscape in Norway.— 
Rosenberg, Berl. Malersch., 59. 

BOESEN, JOHANNES, born in Copen- 
hagen, Aug. 5, 1847. Landscape painter ; 
pupil of Copenhagen Academy; visited 
Italy, Switzerland, and France in 1879. 
Works: Apple-tree in Blossom (1873); Wild 
Rose-bush (1875); Sunrise; Showers in 
September (1881).—Sigurd Miiller, 44. 

BOEYERMANS, THEODOR, born in 
Antwerp, baptized Noy. 10, 1620, died there, 
in 1677 or 1678. Flemish school; history 
and portrait painter; studied Van Dyck’s 
pictures. His colouring is warm and har- 
monious in tone. Received in guild of St. 


Boeyermams 7 


Luke, May 17, 1654. Best works: An Am- 
bassador, Pool of Bethesda (1675), The 
Visit, Antwerp the Nurse of Painters, Fe- 


172 


BOGGS 


male Head, Museum, Antwerp; Assump- 
tion, S. Jacques, ib.; Vow of St. Louis of 
Gonzaga, Nantes Museum; St. Francis 
Xavier converting an Indian Prince, Jesuit 
Church, Ypres ; Judgment of Paris, Hague 
Museum.—Ch. Blanc, Ecole flamande ; Biog. 
nat. de Belgique, ii. 605; Michiels, ix. 3 ; 
Rooses (Reber), 331. 

BOGGS, FRANK MYERS, born in New 
York, in 1855. Marine painter; pupil of 
Géréme and of the Ecole des Beaux Arts, 
Paris. ‘Two of his pictures purchased by 
French Government. Studio in Dieppe. 
Works: Marine—French Coast; Return 
from Crab-Fishing (1882); Gone Scene— 
Honfleur (1883); Old Canal at Dordrecht, 
On the Thames (1884); Port of Honfleur 
(1885). 

BOGH, CARL HENRIK, born in Copen- 
hagen, Sept. 3, 1827. Genre and portrait 
painter; pupil of Copenhagen Academy, 
then studied in Paris, 1860-61; travelled in 
Sweden and Norway. ‘Title of professor in 
1873. Works: Country Scene (1854); 
Horse Dealer (1857); Reunion (1862); Milk- 
ing Place (1870); Reindeer at the Milking 
Place (1875), Copenhagen Gallery.—Sigurd 
Miller, 55 ; Weilbach, 91. 

BOGLE, JAMES, born in South Carolina 
in 1817, died in 1873. Portrait painter ; 
pupil of Professor Morse in New York, 
where his professional life was chiefly spent. 
He painted portraits of Calhoun, Clay, 
Webster, John A. Dix, Henry J. Raymond, 
and other distinguished men. Elected an 
A.N.A. in 1850, and N.A. in 1861. 

BOGOLJUBOFF, ALEXIS, born in Gov- 
ernment of Moscow in1824. Marine painter ; 
pupil of St. Petersburg Academy ; won, in 
1853, the first prize, and went to Diissel- 
dorf, where he studied under Andreas 
Achenbach. After his return exhibited 
more than one hundred paintings ; became 
in 1858 member of, and in 1861 professor 
in, the Academy. Accompanied the Cesare- 
vich on his travels, and in 1866 revisited 
Germany, where he painted several large 
historical marines, city-views, and sea-bat- 


tles. Decorated with Russian, Austrian, 
Danish, and Belgian orders. Works: Bat- 
tle of Sinope (1853); Battles of Grenhane 
and Petropavlovsk ; First Sea-Battle of Peter 
the Great; Morning after the Storm ; Dis- 
embarkment; Battle near Hangut in 1714; 
Peter the Great with his Galleys ; Crossing 
near Rilaco in Finland, Battle near Isle of 
Oesel in 1819 ; Views of Naples, Venice, and 
Amsterdam ; Christ walking on the Sea; 
Christ on Lake of Gennesareth, Ice afloat on 
the Neva (1873); Roadstead of Cronstadt 
(1878).—Brockhaus, ii. 241 ; Miller, 61. 
BOHN, GERMANN VON, born at Heil- 
bronn, Wiirtemberg, Feb. 25, 1812. “History 
painter ; studied in Stuttgart, then in Paris 
under Henri Lehmann and Ary Scheffer, 
and for two years in Rome; then lived in 
Paris until 1876, when he was appointed 


court-painter at Stuttgart. Medals: Paris, 
1844, 1849; L. of Honour, 1852 ; Wiirtem- 
berg Crown Order. Works: Death of Cleo- 


patra (1840), Nantes Museum; Hagar and 
Ishmael (1843), St. Martin de Tours (1844), 
Tours Cathedral ; Romeo and Juliet, Nancy 
Museum ; All Souls’ Day, Villa Rosenhain, 
near Stuttgart; Serenade (after Uhland), 
Stuttgart Gallery; Hamlet and Ophelia 
(1849); St. Elizabeth (1866); St. Agnes ; 
The Valkyrie ; The Vow, Gelsomina (1868); 
My Mother’s Umbrella (1870). — Meyer, 
Con. Lex., xvii. 142. 

BOILLY, LOUIS LEOPOLD, born at La 
Bassée, near Lille, July 5, 1761, died in 
Paris, Jan. 5, 1845. Genre and portrait 
painter. Began to paint portraits when 
thirteen, went to Paris about 1787, and it is 
said painted the incredible number of 5000 
pictures, many of them being scenes of the 
Revolution treated rather from the grotesque 
than the tragic side. 
gence (1803), Lou- Boi 
vre, Paris ; Isabey’s /%or 
Atelier with twenty- 

Lille Museum.—Ch. Blanc, Ecole fran- 
caise. 


Arrival of the Dili- 
four portraits of artists, Triumph of Marat, 


1%3 


BOIS 


BOIS, CORNELIS DU, flourished about 
1650. Dutch school; landscape painter, in 
the style of Jacob Ruisdael, possibly his 
pupil. Works: Wood Landscape (1649), 
Brunswick Gallery; do., Cassel Gallery ; 
do. (attributed to Guillam du B.), Schwerin 
Gallery.—Riegel, Beitrage, 11. 395. 

BOISSELIER, FELIX, the elder, born at 
Damphal (Haute-Marne), in 1776, died in 
Rome, Jan. 12, 1811. History painter; 
pupil of Sieti, or Cieti, an Italian decorative 
painter, and later of Regnault. Won the 
grand prize for painting twice successively 
(1805-06), the two subjects being the Death 
of Demosthenes and the Return of the 
Prodigal Son. Went to Rome in 1806, and 
sent from there his Death of Adonis, now 
in the Louvre, which was exhibited in 1812, 
after his death. His younger brother, An- 
toine Félix, called the younger, was a 
painter of history and historical landscapes. 
His Death of Bayard is at Fontainebleau.— 
Villot, Cat. Louvre. 

BOISSIEU, JEAN JACQUES DE, born 
at Lyons, Nov. 30, 1736, died there, March 
1,1810. Landscape and genre painter; pupil 
of Lombard, and of Jean Charles Frontier, 
and formed himself after the Dutch masters ; 
studied also in Paris and Italy. Works: 
Landscape with Washerwomen, Louvre, 
Paris ; Hilly River Landscape, Valley with 
River (1773), Berlin Museum.—Larousse, 
i. 886; Notice de Tableaux du Louvre 
(1882), iii. 14. , 

BOIT, EDWARD DARLEY, born in Bos- 
ton; contemporary. Marine painter ; studied 
first in Boston, later in Paris under Fran- 
cais ; has also lived and painted in Rome. 
Studio in Paris. Works: La Plage de Vil- 
lers—Calvados (1876); Beach of Villers— 
Normandy (1878) ; Terrace at Grove Farm 
at Leatherhead — England (1884); Tun- 
bridge Wells—England (1885). 

BOKELMANN, LUDWIG (CHRISTIAN 
LOUIS), born at St. Jiirgen, near Bremen, 
Feb. 4, 1844. Genre painter; pupil of 
Disseldorf Academy under W. Sohn ; has 
attained considerable reputation with serious 


as well as humourous scenes, and secured a 
place among the foremost genre painters of 
Germany. Medals: 
London, Vienna 
(1873), Ghent, Ber- 
lin, and Brussels. 
Works: House of 
Sorrow (1873); 
Shoemaker’s Ap- 


vi treme Unction 
> (1873);. Dawn of 
“ Day (1874); Moun- 


tebank (1875); Pawnbroker’s Shop (1876), . 


Stuttgart Gallery ; Failure of a Bank (1878); 
Camp in Winter-Time ; Opening of the Will 
(1879), National Gallery, Berlin; Last Stage 
of Election Contest (1880).—Miiller, 63; 
Illustr. Zeitg. (1879), i. 10; (1881), 11. 469 ; 


Land und Meer (1884), i. 426; Zeitschr. f. 


b. K., xv. 48, xvi. 149. 

BOKER, KARL, born at Barmen, in 1836. 
Genre painter; pupil of the Diisseldorf Acad- 
emy under Karl Sohn and Schadow ; painted 
at first biblical pictures, but turned to 
genre subjects ; excels especially in humour- 
ous scenes. Works: Chastity of Joseph ; 
St. John; Flight into Egypt; Magdalen ; 
Revision of Passport ; After School (1866); 
Crab-Fishing and MRepast (1867); The 
Good Testimonial (1868); Little Recruits 
(1868) ; Spectacle-Dealer (1869) ; Walk 
to Kirmess (1870); Cupid in the Sculpture 
Gallery (1871); Canary Bird Seller (1872); 
Large Hotel-Bill (1873); Children Swing- 
ing, Mother’s Joy (1875); At the Fair (1876); 
Great Misery ; Christmas-Box ; Bird-Thieves 
arraigned ; Your Health !—Miiller, 63; I- 
lustr. Zeitg. (1873), i. 255. 

BOKLUND, JOHAN KRISTOFER, born 
at Kulla-Gunnarstorp, Sweden, July 15, 
1817, died in Stockholm, Dec. 10, 1880. 
History and genre painter; studied from 
1832 in Lund under Korner, then at the 
Copenhagen Academy, in 1837 in Stock- 
holm, 1846 in Munich, and 1854 in Paris 
under Couture ; returned to Sweden in 1856, 
became member of and professor in the 


174 


prentice (1873); Ex- 


rel he toe ete eh et See ee 


BOKS 


Stockholm Academy, and in 1867 inspector 
of the Gallery and director of the Academy. 
Painted, at first, scenes from the Thirty 
Years’ War; then turned to _ historical 
genre. Much credit is due to him for the 
organization of the Museums in Stockholm 
and Lund. Works: Gustavus Adolphus and 
Axel Oxenstierna; Charles X. and Erik 
Dahlberg ; Faust in his Study; Convent- 
Yard in Tyrol ; Meran Riflemen, Stockholm 
Museum ; Portrait of Queen Louise.—Miil- 
ler, 63. 

BOKS, EVERT JAN, born at Beekber- 
gen, Belgium, April 18, 1838. Genre paint- 
er; pupil of Antwerp Academy under De 
Keyser ; studied then in Paris and settled 
in Antwerp. His specialty is servant’s life, 
which he depicts in the most amusing man- 
ner. Corpus Delicti (1878) is one of his 
best works.—Miiller, 63. 

BOL, FERDINAND, born at Dordrecht, 
in 1611, died 
in Amster- 
dam; buried, 
July 24, 1680. 
Dutch school; 
pupil of Rem- ~; 
brandt, whose © 
studio he en- 
tered about 
1630, and one 
of his most 
successful imitators. Lived chiefly at Am- 
sterdam, where in 1653 he married Elizabeth 
Dell. Painted many historical pictures, ex- 
celled in portraits, and was an excellent 
etcher. Among his numerous works in 
European galleries the best are: Female 
portrait (1642), Berlin Museum; Saskia, 
wife of Rembrandt, Brussels Gallery; Da- 
vid’s Charge to Solomon (1643), Dublin 
National Gallery ; Repose in Egypt (1644); 
Jacob’s Dream, Joseph presenting Jacob to 
Pharaoh, and his own portrait, Dresden 
Gallery ; Pastor Fido, and half-length fig- 
ures of aman and his wife, Baring Collection, 
London ; Portrait of a Boy, Castle Howard, 
England ; Allegory of Peace (1644), Town 


if 


vy 


Hall, Leyden ; The Regents (1649), Lepro- 
senhuys, Amsterdam; do., Huysittenhuys; 
The Astronomer (1652), National Gallery, 
London; Philosopher, Dutch Prince in a 
Car drawn by Goats (1654), Male portrait 
(1659), Louvre, Paris ; two portraits (1669), 


od bof: feed 


Hague Museum.—C. Vosmaer, Rembrandt 
(Hague, 1877), 188; Kugler (Crowe), ii. 
376 ; De Stuers, 16; Ch. Blane, Ecole hol- 
landaise ; Riegel, Beitrage, 11. 257. 

BOL, HANS, born at Mechlin, Dec. 16, 
1534, died in Amsterdam, Nov. 20, 1593. 
Flemish school; painted landscapes and 
miniatures, also genre and biblical subjects. 
Worked for two years for the Elector of the 
Palatinate in Heidelberg, then until 1572 in 
Mechlin, next until 1584 in Antwerp, and, 
after short stays in Bergen, Dordrecht, and 
Delft, settled in Amsterdam. He excelled 
in representing subjects reflected in the 
water, and rocks overgrown with moss and 
shrubbery ; his figures, animals, fruits, and 
flowers are notable for their truth, good 
drawing, and finished execution. Works: 
Prayer-Book, illuminated MS., National Li- 
brary, Paris ; small landscapes, Cabinet of 

@ 


of wr’ 


Miniatures, Munich Gallery; do., Berlin 
Museum.—Biog. nat. de Belgique, 11.626. 
BOLANACHI, CONSTANTINOS, born 
at Heraclium in Candia, March 17, 1837. 
Marine painter ; pupil of Munich Academy, 
under Piloty; paints effective sea-battles 


1%5 


BOLDINI 


and coast-scenes, most of which are bought 
in England and America. Works: Battle 
of Lissa (1866); Neapolitan Fishermen ; 
Company on Shipboard ; Ship on Fire in 
Mid-Ocean.—Miiller, 64. 

BOLDINI, G., born at Ferrara, Italy. 
Genre and portrait painter ; studio in Paris. 
His style somewhat resembles Fortuny’s. 
Works: A Summer Stroll ; The Connois- 
seur; The Despatch (1879); At the Piano, 
Wm. Astor, New York; Ladies of First 
Empire, Les Parisiennes, W. H. Vander- 
bilt, New York ; Spring Flowers, After the 
Orgie, A. E. Borie Collection, Philadelphia ; 
Gossips, Miss C. L. Wolfe, New York ; 
Café Pigalle, J. A. Scudder, St. Louis ; 
Morning Visit, C. Crocker, San Francisco ; 
Song of the Bird, W. B. Bement, Philadel- 
phia ; Delivering the Despatch, J. M. Fiske, 
New York; Dolce far niente, J. C. Runkle, 
New York ; Day Dreams, A. J. Drexel, Phil- 
adelphia; Kitchen Garden, D. O. Mills, 
New York; Rocking-Chair, F. Harper, 
New York; Expected Visitor, C. S. Smith, 
New York; Parrot, Fishing on the Seine, 
R. L. Cutting, New York.—Am. Art Rev. 
(1880), 296. 

BOLGHARINLI See Bulgarini. 

BOLOGHINI. See Bulgarini. 

BOLOGNESE, Il. See Grimaldi. 

BOLSENA, MIRACLE OF. See Mass of 
Bolsena. 

BOLTON ABBEY IN OLDEN TIME, 
Sir Edwin Landseer, Duke of Devonshire, 
Chatsworth. The Abbot of Bolton, standing 
at the entrance of the monastery, is intently 
reading a letter, which a monk, who stands 
behind him with a tray of bottles and 
glasses, is also trying to read over his shoul- 
der; in foreground, a man sitting on the 
steps with a dead stag and wild fowl and 
two dogs beside him, a girl with a tray of 
fish, and a boy with herons on his back, 
perhaps a tenant’s tribute or a present from 
some neighbouring lord. Royal Academy, 
1834. Engraved by Samuel Cousins; W. 
T. Davey.—Landseer Gallery. 

BOLTRAFFIO. See Beltraffio. 


BOMMEL, ELIAS VAN, born in Amster- 
dam, in 1824. Marine and architecture 
painter; pupil of the Amsterdam Academy; 
visited Paris, Belgium, Germany, Hungary, 
and North Italy, and settled in Vienna. 
Works: Harbour of Dordrecht, Street in 
Amsterdam (1866); View on the Rhine, Har- 
bour of Vlissingen (1867); Still Water at Am- 
sterdam (1868); Rotterdam (1869); Storm 


near Coast, Montalbaan’s Tower in Amster- 


dam (1872).—Miiller, 64. 
BONAPARTE. See Napoleon. 
BONAVENTURE, ST., Murillo, Francis 


Cook, Richmond Hill, Surrey ; canvas, H. 6. 


ft. 2 in. x3 ft.8 in. The Saint, in grey robe 
and doctor’s cap, sitting in a red chair beside 
a table, on which are writing materials and 
a crucifix, holds in his left hand a book in 
which he is writing. One of Murillo’s ear- 
liest works. Formerly in convent of 8S. Fran- 
cisco, Seville; Louis Philippe sale (1853), 
£135 ; Lord Dalling and Bulwer sale (1873), 
£257. Old copy: Duc de Montpensier, Se- 
ville.—Curtis, 220, 225 ; Ponz, Viage, ix. 99; 
G. de Leon, i. 60. 

BONDONE. See Giotto. 

BONFIGLI (Buonfiglio), BENEDETTO, 
born about 1425 (?), died in or after 1496. 
Umbrian school. Lived in Perugia, where 
he painted in the Palazzo Communale, in 
1454-61, a series of frescos illustrating the 
legends of St. Louis of Toulouse and St. Er- 
colano. These, which are a mixture of Um- 
brian and Florentine character, show the 
influence of Domenico Veneziano and of 
Piero della Francesca. It is possible that 
he may have been Domenico’s assistant, and 
have worked in company with Piero. The 
frescos were approved by Fra Filippo Lippi, 
and Bonfigl was engaged to continue his 
work, but the series was still unfinished in 
1496. Though much damaged, these frescos 
prove him superior to any of the Umbrians 
of his time except Piero della Francesca. 
According to Vasari, Bonfigli followed his 
friend and assistant Pinturicchio to Rome and 
helped him in the decorations of the Vatican, 
but there is no positive evidence of it. Other 


1%6 


BONHEUR 


examples by him are a Madonna and Saints, 
and parts of an altarpiece, in the Perugia 
Academy.— C. & C., Italy, i. 188; Vasari, 
ed. Mil, iii. 505 ; ed. Le Mon., iv. 149, v. 275, 
vi. 30; Ch. Blane, Ecole ombrienne. 
BONHEUR, (FRANCOIS) AUGUSTE, 
born in Bordeaux, Nov. 4, 1824, died Feb. 
22, 1884. Landscape and animal painter ; 
son and pupil of Raymond B. (died 1853), 
a meritorious artist. Auguste had little 
success as a genre painter, but as a land- 
scape and animal painter he attained a con- 
siderablereputation. Medals: 3d class, 1852, 
1857; 2d class, 1859; 1st class, 1861, 1863; L. 
of Honour, 1867. Works: Children in Fields 
(1845); Bath, Happy Mother (1846); Interior 
of Forest (1852); Gorges of the Gordanne 
and of the Puy-Griou (1853) ; Col de Cabre 
(1855); Souvenir of Brittany (1857); Herd 
of Cattle in the Pyrenees, Crossing the Ford, 
Drinking Place (1859); Arrival at Fair, Meet- 
ing of Two Herds, Leaving the Pasturage 
(1861) ; Return from Fair (1865) ; Sleeping 
Place (1866); Souvenir of Pyrenees (1867) ; 
Environs of Jalleyrac, Shepherd and Sea 
(1868), R. L. Cutting, New York; Souvenir 
of Auvergne (1874); Before the Rain (1875). 
Other works in the United States: Normandy 
Cattle, James H. Stebbins, New York; Sheep 
and Shepherdess, R. G. Dun, New York ; 
Cattle at Fontainebleau, H. Probasco, Cin- 
cinnati ; Le Berger et la Mer, R. L. Cutting, 
New York; Cattle, H. C. Gibson, Philadel- 
phia; Environs of Fontainebleau, Mrs. A. 
T. Stewart, New York.—Larousse. 
BONHEUR, JULIETTE (Mme. Peyrol), 
born in Paris, July 19, 1830. Animal 
painter ; daughter and pupil of Raymond 
B.; assistant of her sister Rosa in the free 
School of Design in Paris. Medal at the 
Exhibition of 1855. Works: Flock of Geese; 
Sheep Lying Down (1875); The Pool, Moth- 
er’s Kiss (1878); Corner of the Meadow, 
Waste Lands of Beauregard (1879); Pond 
with Willows, Meadow (1880); Stray Cow, 
Road at Magny les Hameaux (1881); Cattle 
in a Meadow (1882); Two Good Neighbours, 


Sheep and Heather, J. H. Warren, Hoosac 
Falls, New York; Sheep-Farm, J.CareyCoale, 
Baltimore. 

BONHEUR, (MARIE) ROSA, born in 
Bordeaux, March 
22, 1822. Animal 
painter; daughter 
and pupil of Ray- 
mond B.; began by 
copying in the 
Louvre, afterwards 
made studies and 
sketches near Par- ‘ , 
is. Her first two / ! 
pictures, exhibited 
at Bordeaux in 
1841, attracted much attention and were 
followed by others which established her 
world-wide fame. During the Franco-Prus- 
sian war her studio and residence were re- 
spected by special order of the Crown Prince 
of Prussia. Since 1849 she has been director 
of the Paris free School of Design for Young 
Girls, which she founded. Elected member 
of Antwerp Institute in 1868. Medals: 3d 
class, 1845; 1st class, 1848, 1855; 2d class, 
1867; L. of Honour, 1865 ; Leopold Cross, 
1880 ; Commander’s Cross of Royal Order of 
Tsabella the Catholic, 1880. Works: ‘T'wo 
Rabbits, Goats and Ram (1841); Horse for 
Sale, Grazing Cow, Cattle at Pasture, Twelve 
Cattle pieces (1845) ; Herd (1848) ; Plough- 
ing in the Nivernais (1849), Luxembourg 
Museum; Horse Fair (1853); Hay Harvest in 
Auvergne (1855); Mare, Rain on the Sea- 
shore, Shepherd in Béarn, Ponies from the 
Isle of Skye, Scotch Shepherd (1867); Paint- 
er (1868) ; Sheep at Pasture (1871); Forest 
of Fontainebleau (1873); Meadow near Fon- 
tainebleau, Monarch of the Glen, Pack of 
Wild Boars (1879); Foraging Party, On the 
Alert (1881); Lion at Home (1882). Works 
in United States: Study of Hound, Wean- 
ing the Calves, Miss C. L. Wolfe, New 
York; Rendezvous de Chasse, Shepherd and 
Flock, August Belmont, New York ; Ready 
for Market, James H. Stebbins, New York ; 


Sheep on a Plain (1883); Inn Stable (1884); ‘The Old Monarch, Noonday Repose, Ready 


10 


BONIFAZIO 


for the Hunt, Flock of Sheep, W. H. Vander- 
bilt, New York; Sheep—Scotch Landscape, 
Pyrenees—Landscape and Sheep, W. Rocke- 
feller, New York ; Landscape with Sheep, T. 
R. Butler, New York; Scotch Sheep, Mrs. 
Paran Stevens, New York; Horse Fair, Mrs. A. 
T. Stewart, New York; Cattle and Dog, H. 
Probasco, Cincinnati; Sheep, A. E. Head, San 
Francisco; Scotch Cattle, J. T. Martin, Brook- 
lyn; Maternal Solicitude (1845), L. Tucker- 
man, New York; Deer in Fontainebleau, Mrs. 
R. L. Stuart, New York ; Sheep, D. O. Mills, 
New York; Highland Sheep, H. C. Gibson, 
Philadelphia ; The Conversation (1858), An- 
dalusian Bulls (1867), W. T. Walters, Balti- 
more ; Cavaliers caught in a Shower, Samuel 
Hawk Collection, New York.—Meyer,Gesch., 
761; Miller, 64; Larousse ; Portfolio (1875), 
98; Hamerton, French Painters; Montrosier, 
Artistes modernes.—Century (1884), xxviii. 
833. 

BONIFAZIO BEMBO. See Bembo. 

BONIFAZIO VENEZIANO, born in 
Venice, flourished 1555-1579. Venetian 
school ; probably son of Bonifazio the elder 
or younger. Works: SS. Jerome and Mar- 
garet, SS. Bruno and Catherine, SS. Barna- 
bas and Sylvester, SS. Anthony and Mark 
(1562), Madonna in Glory with Saints, Ven- 
ice Academy. — Lermolieff, 215; Morelli 
(Richter), 178, 184. 

BONIFAZIO VERONESEH, the elder, 
born in Verona about 1490, died in 1540. 
Venetian school; pupil of Palma Vecchio, 
but closely imitated Titian. Forms clear 
and rounded ; lights and shadows distinct ; 
for colour one of the first Venetian masters. 
Works: Madonna with Saints (attributed to 
Palma), Casa Andreossi, Milan ; St. John, 
St. Joseph, etc., Ambrogian Library, Milan 
(attributed to Giorgione); Holy Family and 
Saints, Palazzo Colonna, Rome; do. (1533), 
Palazzo Ducale, Venice ; do., Palazzo Pitti, 
Florence (attributed by C. & C. to a Trevi- 
san); Finding of Moses, Dresden Gallery.— 
Kugler (Eastlake), ii. 543 ; Lermolieff, 215 ; 
Morelli (Richter), 184; Ridolfi, i 369; 
Liibke, Gesch. ital. Mal., ii. 565. 


BONIFAZIO VERONESE, the younger, 
born in Verona about 1490, died in Venice, 
Oct. 19, 1533. Venetian school ; near rela- 
tive, perhaps brother, of the above. Pupil 
of Palma Vecchio, but close imitator of 
Bonifazio the elder, with whom he painted 
many pictures. Works : Supper at Emmaus, 
Brera, Milan; Christ and the Apostles, 
Christ enthroned with David and SS. Mark, 


Louis, Dominic and Anna (1530), Venice. 


Academy; Christ in the Temple, Palazzo 
Pitti, Florence ; Supper at Emmaus, Uffizi 
(attributed to Palma); Prodigal Son, Bor- 


ghese Gallery, Rome ; Adoration of Shep-. 


herds (attributed to Palma), Virgin and 
Child with Saints, Dresden Gallery.—Ler- 
molieff, 215, 221; Morelli (Richter), 184; 
Kugler (Eastlake), ii. 543. 

BONINGTON, RICHARD PARKES, 


near Nottingham, 
Oct. 25, 1801, died 
in London, Sept. 
23, 1828. His 
father, a poor por- 
trait painter, took 
him, when only 
fifteen years old, 
to Paris, where 
the boy procured 
permission to copy in the Louvre. He be- 
came a student in the Ecole des Beaux Arts, 
and in 1819 entered the studio of Baron 
Gros. After obtaining a considerable repu- 
tation in Paris and winning the gold medal 
(1824) for a marine subject, he went to Ven- 
ice and painted there some elaborate pict- 
ures both in oil and water colours, which 
won him fame and many commissions in 
England, but his promising career was cut 
short by death, the result of a sunstroke. 
Though he painted chiefly landscape and 
marine views, he also executed figure sub- 
jects with much skill, and his influence on 
the French school of genre and dramatic art 
was great. Works: Column of St. Mark in 
Venice, National Gallery, London; Henri 
IV. and the Spanish Ambassador, Collection 


178 


born at Arnoid, 


ae 


ERED aaa tes 


ie Gea epee 5 


BONNAT 


of Sir Richard Wallace; Francis I. and the 
Duchesse d’Etampes, Park of Versailles, 
- Louvre.—Ch. Blane, Ecole anglaise ; Cat. 
Nat. Gal.; Cunningham; Art Journal (1858), 
137. 

BONNAT, LEON (JOSEPH FLOREN- 
TIN), born at Ba- 
yonne, in 18383. — LE 
Genre and portrait J ies 
painter; pupil in Si Seek FE 
Madrid of F. de ; | 
Madrazo and in 
Paris of Léon Co- 
gniet; also studied 
four years in Italy, 
where he painted 
many small pictures 
of Italian life, for 
which he is best known. Has painted sev- 
eral religious pictures for the Government. 
Second grand prix, 1858; medals: 2d class, 
1861, 1863, and 1869; of honour, 1869; 
L. of Honour, 1867; Officer, 1874 ; Com- 
mander, 1882 ; Member of Institute. Works: 
Good Samaritan (1859); Adam and Eve 
finding the Body of Abel (1860), Lille Mu- 
seum; Mariuccia (1861); Pasqua Maria, 
Martyrdom of St. Andrew (1863); Pilgrims 
at Foot of Statue of St. Peter (1864); Italian 
Boy Begging (1864); Antigone leading her 
Blind Father (1865); Neapolitan Peasants 
at the Farnese Palace (1866); St. Vincent 
de Paul taking the Place of a Galley-Slave 
(1866); First Steps of Childhood, Tender- 
ness, Fellah Woman, Street in Jerusalem 
(1870), Assumption (1869); Sheikhs of Aka- 
bah, Woman of Ustaritz (1872); Turkish 
Barber, Sherzo (1873); Christ on the Cross 
(1874); Negro Barber, Wrestling of Jacob 
(1876); Job (1880) ; Martyrdom of St. Denis 
(1885). Works in United States: Girl of 
Albano at Fountain, Miss C. L. Wolfe, New 
York; Italian Girl, August Belmont, New 
York; Roman Girl, W. Rockefeller, New 
York; Don’t Cry, J. J. Astor, New ork; 
Little Contadina, J. A. Brown, Providence ; 
Elder Sister, H. P. Kidder, Boston ; Italian 
Mother and Child, H. C. Gibson, Philadel- 


phia ; Arab plucking Thorn from his Foot, 
W. H. Vanderbilt, New York. Among his 
portraits are : M. Thiers (1877), Victor Hugo 


(1879), Presi- 
: I Bonnal. 


dent Grévy 
(1880), Leon 

Cogniet (1881, Luxembourg), Hon. ga 
Morton (1883).—Gaz. des B. Arts (1881), 
xxiv. 32; Menard ; Portfolio, 1875. 

BONNEFOND, JEAN CLAUDE, born in 
Lyons, about 1790, died there, June 27, 
1860. Genre painter ; pupil of Revoil; won 
the first prize in Lyons school of art in 
1813 ; then went to Paris and afterward to 
Italy. Succeeded Revoil in 1831 as direc- 
tor of the Lyons school of art. Medals: 
9d class, 1817; 1st class, 1827; L. of Hon- 
our, 1834 ; Corresponding Member of Insti- 
tute, 1854. Works: Bed-Chamber, Little 
Savoyards (1817); Poultry Merchant, Blind 
Man (1819); Blacksmith (1822), B. Deles- 
sert; Return of Little Savoyards, Country 
Scene in Spain, Room to Let (1824), Lyons 
Museum ; Tired Pilgrim Woman helped by 
Monks, Shepherds and Shepherdesses in 
Roman Campagna (1827); Ceremony of 
Holy Water in a Greek Church (1831), 
Lyons Museum ; Wounded Pilgrim Woman, 
Greek Officer wounded in Ruins of Misso- 
longhi, Christ on the Cross, Court-House, 
Lyons; Roman Gleaner, Vow to the Ma- 
donna.— Larousse. 

BONNEFOY, HENRY, born at Bou- 
logne-sur-Mer (Pas-de-Calais) ; contempo- 
rary. Landscape painter ; pupil of Léon 
Cogniet. Medals: 3d class, 1880 ; 2d class, 
1884. Works: June in Denmark, Monsieur, 
Madame et Bébé (1880); Delinquents, Octo- 
ber Evening (1881); Playing Truant, The 
Ox and the Frog (1882); In the Woods 
(1883); September Morning, June in the 
Wood (1884); Derriére 1 Oreille, On the 
Border of the Pool (1885). 

BONNEGRACE, CHARLES ADOLPHE, 
born at Toulon, April 2, 1812, died in 1882. 
History and portrait painter ; pupil of Baron 
Gros. Medals: 3d class, 1839; 2d class, 1842; 
L. of Honour, 1867. Works: St. Peter in 


179 


BONONE 


Prison (1839) ; Christ in the Tomb (1840);{ Academy, Mantua; Portrait of a Venetian 
St. Laurence the Martyr (1853), ordered by | Senator, National Gallery (1487), London ; 


State; Christ among the Doctors (1855), 
Toulon Museum; Manna in the Desert 
(1861), St. Louis en Ile; Daphnis and Chloe 
(1857); Cupid and Psyche (1859) ; Modesty 
conquered by Love (1861), ordered by Em- 
peror; Birth of Venus (1875). Portraits of 
Anatole de la Forge, Théophile Gautier, 
George Feydeau, Count Flahault, Mme. 
Grisi, of himself (1873).—Larousse. 
BONONE, CARLO, born in Ferrara, in 
1569, died there, Sept. 3, 1632. Lombard 
school; pupil of Giuseppe Mazzuoli, and 
at first followed his manner; but after visit- 
ing Bologna and Rome adopted the style of 
the Caracci so successfully that he was 
called the Caracci of Ferrara. In his 
larger works he resembles Paolo Veronese, 
whose pictures he studied in Venice. He 
was a rival, all his life, of Ippolito Scarsella. 
Many of his works are in the churches of 
Ferrara, e.g., Patriarchs and Prophets in 
the Choir of S. M. in Vado; Marriage at 
Cana, Ateneo; Arisen Christ and Saints, S. 
Benedetto.—Burckhardt, 786, 797; Lanzi, 
iii. 214 ; Ch. Blanc, Ecole ferraraise. 
BONSIGNORI, FRANCESCO DI AL- 
BERTO, born in Verona, in 1455, died 
at Caldiera, near Verona, July 2, 1519. 
_ Lombard school; brought up in the Ver- 
onese school, he came under the influ- 
ence of Mantegna at Mantua after he had 
formed a manner of his own, and acquired 
such proficiency that the Marquis Francesco 
Gonzaga gave him in 1487 a house and a 
salary, and retained him in his service until 
his death. He painted history, portraits, 
architecture, and animals; was called the 
modern Zeuxis. His earlier style is more 
like that of Montagna, or of Buonconsi- 
glio, than that of Mantegna, but at the close 
of the 15th century he had become an imi- 
tator of Mantegna. Still later he shows the 
influence of Lorenzo Costa. His second 
manner is well illustrated in St. Louis and 
St. Bernardino, Brera, Milan ; St. Sebastian, 
S. M. delle Grazie, Mantua; March to Calvary, 


Madonna and Saints, Sir A. H. Layard, Lon- 
don ; and Christ carrying his Cross, Doria 
Gallery, Rome. In his last style are: Vision 
of Christ to the Nun Ozanna, Mantua Mu- 
seum ; and Madonna between Saints, chapel 
of S. Biagio, church of SS. Nazaroe Celso, 
Verona, painted in 1514-19,—C. & C., N. 
Italy, i. 474; Ch. Blanc, Ecole lombarde; 
Bernasconi, 250; Liibke, Gesch. ital. Mal., 
i. 480. 

BONVICINO, ALESSANDRO. See Mo- 
retto. : 

BONVIN, FRANCOIS SAINT, born at 
Vaugirard, near Paris, Sept. 22, 1817. 
Genre painter ; self taught; studied Dutch 
painters in the Louvre, then painted sub- 
jects from the life of the working classes of 
Paris. Medals: 3d class, 1849; 2d class, - 
1851; L. of Honour, 1870. Works: Ave 
Maria, The Cook, The Piano, Men Drinking 
(1849); Orphans’ School (1850), Langres 
Museum ; Woman Knitting (1851); Charity 
(1852), Niort Museum ; Class of Little Ones 
(1852); Regimental School (1853), ordered 
by State; Woman Reading (1853); Nuns 
Knitting, Low Mass, belongs to State; A 
Cook (1855); The Blacksmith (1857), bought 
by State; Letter of Recommendation, or- 
dered by State; The Gossip, The Reader 
(1859); Interior of Wine-Shop (1861), 
bought by State; Nuns returning from 
Church, bought by State ; Copper Fountain, 
Apprentice’s Breakfast (1863); Attributes of 
Painting and Music, Poor Bench (1865); 
Grandmother’s Coffee (1866); Clergy dis- 
tributing Food, Old Woman Reading (1867); 
Letter of Introduction, Frying Herring 
(1868); Nun Knitting, Young Designer 
(1869); Ave Maria, Morning in the Pasture 
(1870); The Refectory, The Laboratory 
(1873); The Alembic, The Pig, School-Boy 
kept in (1875) ; Gravesend, Abandoned Boat 
(1876); A Thatcher who has fallen (1877); 
Shoemaker’s Apprentice, Autumn Evening 
at Port Marlyt (1878); During Vacation 
(1879); Corner in a Church (1880). 


180 


BOONEN 


BOONEN, ARNOLD VAN, born at Dor- 
drecht, in 1669, died in 1729. Dutch school; 
portrait and genre painter ; pupil of Gott- 
fried Schalken, imitating the latter in his 
subjects taken by candle-light. He painted 
life-size portraits at some of the German 
courts. His younger brother, Jasper Boon- 
en (1677-1729), and his son Kasper Boon- 
en, were por- 

trait paint- 

ers. Works: A oOonenm 
Young Wom- 

an with Lantern (1695), six others, Dres- 
den Gallery; Anchorite Reading (1695), 
Brunswick Gallery.—Gool, i. 294. 

BOOTHBY, PENELOPE, Sir Joshua 
Reynolds, Earl of Dudley; canvas. A little 
girl in a large mob cap, seated out-of-doors. 
Sometimes called the Mob Cap. Painted in 
1788; sold in 1851 to B. G. Windus for 
290 guineas; bought at his sale (1859) 
by Lord Ward for 1100 guineas. Engraved 
by Thomas Park (1789); T. Kirk ; S. Cous- 
ins; lithographed in Portfolio.—Portfolio 
(1873), 136 ; (1876), 145 ; Atheneum, Aug., 
1874, 185 ; Dec., 1874, 758. 

BOOTT, ELIZABETH, born in Cam- 
bridge, Mass.; contemporary. Figure paint- 
er; pupil of W. M. Hunt, of Duveneck, and 
in Paris of Couture. Studio in Boston. 
Works: Head of a Tuscan Ox (1876); Old 
Man Reading (1878); Old Roman Peasant, 
Girl with Cat (1879); Almond Blossoms, 
Still-Life (1882); Pyrus Japonica (1883). 

BORDES, ERNEST DOMINIQUE, born 
at Pau, France; contemporary. History 
and genre painter; pupil of Bonnat and 
Cormon. Medal: 3d class, 1884. Works: 
The Concierge is a Tailor (1881); Malague- 
na de Seville (1882); Jour des Cuivres, Breton 
Woman Spinning (1883); Legend of St. Ju- 
lian the Hospitaller (1884); Tide at Cayeux 
(1885). 

BORDONE, PARIS, born in Treviso, in 
1500, died in Venice, Jan. 19, 1570. Vene- 
tian school; of a noble family ; pupil of Ti- 
tian, under whom he gave promise early 
of great ability. Afterward studied the 


works of Giorgione, whom he imitated 
He excelled especially 


rather than Titian. 
in portraits, his 
heads being 
inferior only to 
those of Titian. 
His flesh tints 
are wonderful- 
ly brilliant, but 
in taste and 
quality of touch 
he was inferior 
to either Titian 
or Paolo Vero- 
nese. His landscape backgrounds are gen- 
erally classical and elegant. In 1538 he 
went to Paris, at the invitation of Francis L, 
or, as some say, in 1559, at that of Francis 
IL, and painted the principal personages of 
the court. The most important of his works 
are: The Fisherman presenting the Ring 
of St. Mark to the Doge, and the Tiburtine 
Sibyl, Venice Academy ; Baptism of Christ, 
Brera, Milan ; Altarpiece and Madonna and 
Saints, Berlin Museum ; Diana, Apollo, and. 
Marsyas, Dresden Gallery ; Madonna and 
Saints, Hermitage, St. Petersburg; Daphnis 
and Chloe, National Gallery, London. There 


O .PARIS.B.- 


are portraits by Bordone 

in the Uffizi and» Pitti, -‘Sy9?- 

Florence ; and in the Lou- 

vre, Munich, Vienna, and 

other galleries.—Ch. Blane, 

Eeole vénitienne; Seguier, 23; Siret, 119; 

Vasari, ed. Le Mon., vii. 82, ix. 148, xii. 

47; Burckhardt, 741; Morelli (Richter), 

195 ; Liibke, Gesch. ital. Mal., 11. 568. 
BORESUM (Borssem, Borssum), ABRA- 

HAM VAN, flourished about 1600. Dutch 

school; landscape and animal painter, in 

the manner of A. Cuyp and A. van der 

Neer. Clever painter and able colourist, 

with a firm touch. Works: Village by 

Moonlight, Rotterdam Museum; Pictures 

in Van Loon Collection, Amsterdam, and 


181 


BORGOGNONE 


Arenberg Gallery, Brussels.—De Stuers, 
115; Burger, Musées, ii. 215. 
BORGOGNONE, AMBROGIO, born in 
Milan, about 1440-50, flourished from 1485 
to 15238, some say until 1535 ; but probably 
died at Milan, in 1523. Lombardo-Milanese 
school; real name Ambrogio Stefani da Fos- 
sano; perhaps pupil of Vincenzo Foppa and 
of Bernardino Zenale. First manner timid 
and stiff, and never gained much freedom ; 
painted in tempera and then in oil in the 
method of tempera ; flat surface in flesh and 
drapery, and petty detail in landscape dis- 
tances. His best work is in the Certosa, Pavia. 
Used much gilding in his early pictures, asin 
Madonna and Saints, Ambrosian Library, 
Milan ; do., collection of Count Borromeo, 
Milan ; and a triptych in the National Gal- 
lery, London, where are also his Marriage 
of St. Catherine and two family portrait 
pieces. The second style of Borgognone 
shows the influence of Leonardo da Vinci. 
Examples of it are the remains of frescos at 
S. Satiro, Milan (1494-95); a series of small 
panels at Lodi; Coronation of the Virgin, in 
choir, and scenes from the legend of S. Si- 
sinius, in portico, of S. Simpliciano, Milan 
(1524); Christ after his Resurrection and 
Christ disputing with a Doctor, 8. Ambro- 
gio; a ceiling in the sacristy of S. M. della 
Passione; Madonna with Saints (1485), S. 
Kustorgio, Milan. In the Certosa, Pavia, 
are the frescos of the apses, and a Crucifix- 
ion (1490); St. Ambrose and Martyrs ; St. 
Sirus in Majesty with Saints ; St. Augustin, 
and many other works completed before 
1494. Other works are: An altarpiece 
(1508), S. Spirito, Bergamo; Assumption 


gmbrofy | 
bergognonl. op’ 


(1522), Brera, Milan; Madonna in Adora- 
tion, Munich Gallery; do., Dresden Gal- 
lery.—Calvi, Dei Professori, etc., 245 ; Rio, 


Art Chrétien, iii, 184; C. & O., N. Italy, ii. 
41; Ch. Blane, Keole milanaise ; Morelli 
(Richter), 419; Liibke, Gesch. ital. Mal., i. 
495. 

BORGONA, JUAN DE, died in Toledo, 
about 1533. Spanish school; enjoyed the 
patronage of Archbishop Ximenes ; painted 
in 1495-99 in the cloisters of the Cathe- 
dral of Toledo works now destroyed, and 
in 1508-11 frescos in the winter chap- 
ter room at Toledo, among which were a 
Nativity of the Virgin and a Last Judgment. 
In 1514 he painted the Conquest of Oran 
on the walls of the Muzarabic Chapel, and 
in 1519 adorned with frescos the Cathedral 
Library. He also painted portraits of all the 
Spanish Primates down to Cardinal de Fon- 
seca.—Stirling, i. 93. 

BORJESSON, AGNES, born in Sweden, 
May 1, 1827. Genre painter; pupil of Bok- 
lund ; studied then in Paris, and from 1860 
in Diisseldorf under W. Sohn; travelled 


afterwards in Italy. Since 1872 member of: 


the Stockholm Academy. Works: Old 
Reminiscences, Stockholm Museum; De- 
parture of the Bridal Pair. 

BORRACHOS, LOS (The Topers), or 
Bacchus, Velasquez, Madrid Museum ; can- 
vas, H. 5 ft. 5 in. x 7 ft.3 in. Bacchus, half 
nude, crowned with vine leaves, sits on a 
cask and smiles as he places a crown of 
leaves on head of a soldier kneeling before 
him ; on left, a peasant seated, and another 
reclining on bank with a cup in hand; on 
right, five jovial peasants looking on; back- 
ground, landscape. Painted about 1629 for 
Philip IV. Old copy in Naples Museum. 
Sketches: Lord Heytesbury, Wilts; Robert 
S. Holford, London, Several etchings and 
lithographs.—Ch. Blane, Ecole espagnole ; 
Art Journal (1852); Gaz. des B. Arts (1879), 
421: Klass. der Malerei; Curtis, 17; Ma- 
drazo, 596. 

BORRAS, Fray NICHOLAS, born at Co- 
centayna, in 1530, died at Gandia, in 1610. 
Spanish school; pupil of Vicente Joanes; 
became, in 1575, a monk in the Jeronymite 
convent at Gandia, where he gave most of 


182 


BORRAS 


his life to its embellishment, covering the 
walls of its chapels, chapter-house, cloisters, 
and refectories with pictures. Many of his 
works in the Museum at Valencia, among 
them a Last Supper, Christ bearing his 
Cross, Dead Sa- ) 
viour in Arms of 
the Father, and 
Archangel Mi- 
chael driving Souls to Purgatory. Bermu- 
dez gives a list of his works.—Stirling, 1. 
379 ; Cean Bermudez. 

BORRAS Y MOMPO, Don VICENTE, 

born in Spain; contemporary. Historical 
genre painter. Medal, 
9d class, Madrid, 1878. aeau 
Works: Seizure of Riego — ae 
(1878); Dofia Maria Pa- 
checo de Padilla (1881) ; ke 
Antonio Perez after Tor- 
ture receiving his Family 
(1884). — La [Ilustracion | @yay- 
(1881), ii. 299; (1884), ii P ANG 
Al. | 1s 
BORSOS, JOSEF, born 17 
at Veszprim, Hungary, |1{4 
Dec. 20, 1821. Genreand - \f 
still-life painter ; pupil of one 
Vienna Academy. Works: Bec®” 
Still-life (1850), Vienna BsRgges 
Museum; Morning after B= 
Masked Ball (1850), Por- 
trait of Prince Eszterhazy, 
National Museum, Pesth ; Surprise (1850), 
Wounded Soldier (1853), After the Battle 
(1853), Austrian Art Union.—Wirzbach, il. 
78. 

BORZONE, LUCIANO, born in Genoa in 
1590, died there in 1645. Genoese school ; 
pupil of his uncle Filippo Bertolotto and of 
Cesare Corte. Painted some historical pict- 
ures, but excelled in portraits. Killed by a 
fall from a scaffolding in lAnnunziata, 
Genoa, where he was occupied in painting 
a Nativity. His three sons, Gio. Battista 
(died 1657), Carlo (died 1657), and Fran- 
cesco Maria (born 1626, died 1679), were all 
painters. Francesco M. went to France at 


Rowas 


Lion, of the Crown of Oak, and of Leopold; 


invitation of Louis XIV. and painted fres- 
cos in the Louvre and at Vincennes. Re- 
turned to Genoa the year of his death.— 
Lanzi, ili. 271; Ch. Blane, Ecole genoise 5 
Soprani, 179. 

BOSBOOM, JAN, born at The Hague, 
Feb. 18,1817. Architecture painter ; pupil 
of Van Bree; Knight of the Order of the 


medals in Paris (1855) and Philadelphia 
(1876). Works: Franciscan Monks singing 
Te Deum (1855); Holy Communion in 
Protestant Church ; Hall of the Consistory 
at Nymwegen ; Interior of Church at Alk- 


Los Borrachos (The Topers), Velasquez, Madrid Museum. 


maar; Interior of Rotterdam Cathedral ; 
Protestant Church at Amsterdam, Munich 
Gallery ; Tomb of Engelbert IL, Le Buttet 
d’Orgues (1878). 

BOSCH, ERNST, born at Crefeld, Ger- 
many, in 1834. Genre painter; pupil in 
Wesel, of Schex, then in 1851-56 at the 
Diisseldorf Academy, under Sohn, Hilde- 
brandt, and Schadow. Works: The Smug- 
gler (1854), Ferry in the Ice, Flying Dutch- 
man, Defence of Log-House against Indians, 
Soldier's Serenade, Gipsy Gang, Faithful 
Watchman, Grandfather and Grandson, 
The Sick Cow, Rogues’ School, Autumn 
Evening (1867), Far-Sighted and Near- 


188 


BOSCH 


Sighted, Sleeping Savoyard Boy, Tinker, 
Old Shepherd (1873), The Poachers, Red 
Riding-Hood, Cinderella, the Favourites, 
Old Shepherd and Granddaughter, Idyl.— 
Miiller, 67. 

BOSCH (Bos), HIERONYMUS (Hieron- 
ymus van Aeken), born at Bois-le-Duc, be- 
tween 1460 and 1464, died there in 1516. 
Flemish school ; history and genre painter; 
treated scriptural subjects in a fantastic 
and grotesque spirit; great brilliancy of 
colour and delicacy of execution. His fame 
spread rapidly over the Netherlands, Italy, 
and Spain. Works: Adoration of Magi, 
Temptation of St. Anthony (8), Fall of An- 
gels, Creation (?), Moral Fantasy, Madrid 
Museum ; Christ crowned with Thorns, Va- 
lencia Museum; Temptation of St. Anthony, 
Antwerp Museum; Fall of Angels, Brussels 
Museum ; Temptation of St. Anthony (2, 2), 
Museum, Vienna; Last Judgment, Acad- 
emy, ib.; Holy Family, Naples Museum.— 
Allgem. d. Biog. iii. 184 ; Biog. nat. de Bel- 


J beoutwus boleh, 


gique, i. 149; Meyer, Kiinst. Lex., i. 90; 
Michiels, iv. 204 ; Rooses (Reber), 75; W. 
& W., ii. 528. 

BOSER, FRIEDRICH, born at Halbau, 
Silesia, in 1811, died in Diisseldorf, Jan. 
28, 1881. Genre and portrait painter; 
pupil in 1831-34 of Dresden, then, till 1836, 
of the Berlin Academy, and, till 1841, of 
the Diisseldorf Academy. Works: Egmont 
and Clara, Faust and Gretchen, Present to 
the Bride, Brother Sleeps, Wendish Girls at 
Church, Little Flower-Girl, Girl Knitting, 
The Widow, Poor’s Box, The Redeemer 
(1870) ; Shooting at the Shawfowl, Looking 
at the Pictures, Mr. Bécker, New York.— 
Kunst-Chronik, xvi. 8343; Meyer, Conv. Lex. 
(1874), iii. 550 ; Wolfgang Miller, Diissel- 
dorf K., 291. 

BOSSCHAERT (Bossaert), THOMAS 
WILLEBRORD, called Willeborts, born at 
Bergen-op-Zoom, in 1613, died in Antwerp, 


Jan. 23,1654. Flemish school ; history and 
portrait painter ; pupil in Antwerp of Ge- 
rard Zegers, but became afterwards a suc- 
cessful imitator of Van Dyck, to whom some 
of his works are attributed ; master of Ant- 
werp guild in 1636, dean in 1650-51; di- 
rector of Academy at Antwerp, 1649. Works: 
The Angels announcing to Abraham the 
Birth of Isaac, Brussels Museum ; St. Sebas- 
tian and the Angel, Munich Gallery ; Mar- 
riage of St. Catherine, Berlin Museum (?) 5 
Mary and St. Francis, Nuremberg Museum ; 
Elijah in the Desert, Vienna Museum.— 
Biog. nat. de Belgique, ii. 750; Kramm, i. 
134, vi. 1865; Michiels, ix. 71; Rooses 
(Reber), 328. : | 

BOSSCHE, BALTHASAR VAN DEN, 
born at Antwerp, baptised Jan. 6, 1681, 
died there, Sept. 8, 1715. Flemish school ; 
genre and portrait painter; pupil of Gerard 


Be. Vara 
J} of Che 


Thomas. Work: Reception of Burgomas- 
ter in the Guild of Cross-Bowmen (1711), 
Antwerp Museum.—Cat. du Musée d’Anvers 
(1874), 426. 

BOSSHARDT, KASPAR, born at Pfaffi- 
kon, Switzerland, in 1823. History painter ; 
pupil of Diisseldorf Academy under Scha- 
dow and Schirmer ; paints chiefly subjects 
from local history. Studio in Munich. 
Works: Halwyl of Bern before Battle of 
Murten (1868), Basle Museum; Death of 
Sickingen, Wengi of Solothurn placing him- 
self before a Cannon, Confederate Woman 
in Suabian War, The Favourite, Politicians 
in the Monastery (1879).—Kunst-Chronik, 
ili. 66 ; Miiller, 68. 

BOSSUET, FRANCOIS, born at Ypres, 
East Flanders, Aug. 20, 1800, Architecture 
painter ; pupil of Brussels Academy ; tray- 
elled in the Netherlands, Germany, France, 


184 


BOTH 


Spain, and North Africa. Professor at 
Brussels Academy. Member of Rotterdam 
and Philadelphia Academies. Officer of Order 
of Leopold; Portuguese Order of Isabella the 
Catholic. Works : Seville Cathedral (1855), 
St. Amand Abbey at Rouen, Brussels Muse- 
um ; Ruins of Moorish Bridge, Li¢ge Muse- 
um ; Gate of Justice at the Alhambra, Mons 
Museum; Market Halls at Ypres, Ypres 
Museum ; Lions’ Court of the Alhambra, 
Court of Honour of the Alcazar at Seville, 
Stuttgart Gallery ; Andalusian Landscape 
(1847), Giralda Procession at Seville (1853), 
National Gallery, Berlin ; Roman Aqueduct 
at Seville, Philadelphia Museum. — La- 
rousse, il. 1027. 

BOTH, JAN, called the Italian, born at 
Utrecht, in 
1610, died 
there after 
1650. Dutch 
school. Jan 
and his broth- 
er Andries 
having learned 
the elements 
of painting 
from their fa- 
ther, Dirck, glass painter, were apprenticed 
by him to Abraham Bloemart. The broth- 
ers travelled in France and Italy. At Rome, 
Jan imitated the style of Claude Lorrain and 
painted some excellent landscapes, in which 
Andries, who followed the manner of Van 
Laar, introduced figures and animals, It is 
said that Jan, after his brother was drowned 
at Venice, returned to Utrecht and died 
of grief soon after. But doubt is thrown 
upon this story by the signature of Jan, 
when dean of the guild in 1649 ; he had re- 
turned to Utrecht in 1644. Works: Hight 
landscapes, Madrid Museum; two, Louvre ; 
do., Hague Museum; four, National Mu- 
seum, Amsterdam; two, Rotterdam Muse- 
um; one, Antwerp Museum; do., Brussels 
Museum; do., Brunswick Museum; five, 
Dresden Museum; one (1650), Berlin Mu- 
seum; do., Munich Gallery; two, Copen- 


hagen Gallery; Baptism of the Eunuch, 
Buckingham Palace, London; Landscape 
with Muleteers; do. with figures (by Poe- 
lenburg) rep- 
resenting 
Judgment of & oe Oo TS 
Paris, and 
others, National Gallery, London; Land- 
. scape, New York 
Museum. — Ch. 
f bs Blane, Ecole hol- 
landaise; Cat. du 
Musée d’Anvers (1874), 62; Havard, A. & 
A., iv.171; Riegel, Beitrige, 11. 366. 
BOTTALLA, GIOVANNI MARIA, called 
Raffaellino, born at Savona, in 1613, died in 
Milan, in 1644. Genoese school; patro- 
nized by Cardinal Giulio Sacchetti, who 
placed him at Rome in the studio of Pietro 
da Cortona. Sacchetti called him Raffael- 
lino from his happy imitation of Raphael ; 
but his style is rather that of Pietro, who is 
said to have dismissed him and Francesco 
Romanelli, for endeavouring to supplant 
him. Afterwards painted in Naples and in 
Genoa. His Meeting of Jacob and Esau is 
in the Capitol Gallery, Rome.—Lanai, iu. 
276; Ch. Blanc, Ecole eénoise; Soprani, 161. 
BOTTCHER, CHRISTIAN (EDUARD), 
born at Imgenbroich, Rhine province, Dec. 
9, 1818. Genre and landscape painter ; 
pupil of Diisseldorf Academy under Hilde- 
brandt and Schadow. Since 1872 professor 
in Academy. Works: Release of Prisoner 
(1848); Schoolmaster and Village Youths 
(1852); Rhenish Village Youths (1856); 
Evening on the Rhine (1860); Rhenish 
Harvest (1861); Summer-Night on the 
Rhine (1872), Cologne Museum ; Evening 
in Black Forest (1863), Leipsic Museum ; 
Starting for the Vintage (1867); Hay-Har- 
vest on the Lahn, Villa on the Rhine, Mar- 
ket-Well in Rhenish City (1870); Return 
from the Fields (1872); Sunday on the 
Rhine (1875). — Wolfg. Miller, 69; Diis- 
seldorf K., 257 ; Wiegmann, 326. 
BOTTICELLI, ALESSANDRO (Sandro), 
born in Florence, in 1446, died there, 


185 


BOUCHER 


May 17, 1510. Florentine school; real 
name Alessandro di Mariano Filipepi, but 
took name of Bot- 
ticelli from his 
master, a gold- 
smith, to whom 
he was appren- 
ticed. Studied 
painting with Fra 
Filippo Lippi, at 
whose death 
(1469) he was, 
says Vasari, the feck master in Florence. He 
is the only contemporary whom Leonardo 
da Vinci mentions by name in his treatise 
on painting. The grace, sympathetic feel- 
ing, and imaginative quality of Sandro’s 
work give it a greater hold upon the mind 
than that of many painters who surpassed 
him in technical knowledge and in feeling 
for beauty. Student and illustrator of 
Dante, a reader of Boccaccio, with a taste 
for classical mythology, and of a serious turn 
of mind which brought him under the influ- 
ence of Savonarola, in the latter part of his 
life, this painter poet worked with genuine 
freshness of feeling. His art is always re- 
fined and elevated, though not altogether 
free from a naive mannerism whose quaint- 
ness gives it a peculiar charm. As an ex- 
ample of his Lippesque manner see the 
Madonna with Angels, Uffizi, painted about 
1480, to which year belongs the fresco of 
St. Jerome, Ognissanti, Florence. The 
Adoration of the Magi, and the Fortitude, 
Uffizi, show the influence of Pollajuolo, who 
painted the series of Virtues to which the 
latter belongs, an influence which is also 
perceptible in the Calumny of Apelles, and 
the Birth of Venus, Uffizi. The Allegory of 
Spring, Florence Academy, illustrates the 
poetic side of Botticelli’s art. Before 1484 
he was called to Rome by Sixtus IV., and 
painted the frescos of the destruction of 
Korah, Dathan, and Abiram; Moses smit- 
ing the Egyptian at the Well; and the 
Temptation of Christ, Sistins Chapel. 


uted to Mantegna, Palazzo Adorno, Genoa; 
Triumph of Chastity, Turin Gallery ; Judith, 
Holofernes found by his Soldiers, Adoration 
of Magi, Uffizi, Florence ; Coronation of 
the Virgin, S. Jacopo di Ripoli, Florence ; 
Coronation of the Virgin, Florence Academy 


(1481-84); Madonnas, Pitti and Corsini Gal- 

and Louvre, Paris; Portraits, the Bella 

Simonetia, Pitti, portrait of a man, attrib- 

and of Lucrezia Tornabuoni, Berlin ; Pieta, 

Munich; Nude Venus, Berlin; Nativity, Mars 

tional Gallery, London; Adoration of the 

Magi, Hermitage, St. Petersburg. Whether 

ing cards which he designed is uncertain, 

but probably they, as well as his illustrations 
Dante with Lan- 
dini’s Commen- 

engraved by Baidini.—Vasari, ed. Mil., iii 

309; C. & C., Italy, ii. 413 ; Pater, Studies 

hardt, 544; Dohme, 21; Ltibke, Gesch. ital. 

Mal, i. 350. 

Sept. 29, 1708, 

died there, May 

school; history 

and genre paint- 

taught ; attended 

three months the 

Moine, then em- 

ployed in draw- 

sitions or Wattelet’s. In 1723 he obtained 

the first prize at the Academy and later went 

Paris in 1731, was received into the Acade- 

my in 1734, became professor in 1737, di- 


leries, Florence, National Gallery, London, 
uted to Masaccio, Palazzo Corsini, Florence, 
and Venus, Venus Reclining, Assumption, Na- 
Botticelli engraved any of the so-called play- 
; to the edition of 
Potticelac tary (1481), were 
in the History of the Renaissance, 38; Burck- 
BOUCHER, FRANCOIS, born in Paris, 
30, 1770. French 
er, mostly self- 
school of Le 
ing for engravers from his own compo- 
to Rome with Carle van Loo. Returning to 
rector in 1765, and after the death of Carle 


Other works are four small pictures attrib- ; van Loo was appointed first painter to the 


186 


{= 


eee | i 
4 Le Me. 
eres wath ly. te 


+ 
c « 
* 
ae 
* 
tue 
h: 
Pa 
tee 
F 
? ee 
‘o- me 
oy 
: 
% 3h 
aoc hn 
Ruths 
al }, 
k s ia 
be Py J 
& 
j 
+ 7 
64F 
en ey 
h 
4 f 
[ ¥ 
i 
inde “ 
“ 
dy 4 7% 
' La t 
he 
. 


PAF si 


” 


fed to Mai 


i RTRILENOS | 


hae 


| sf oe 


nehhhaod’D 


i go set Ba 


<i 


BOUCHOT 


king. He painted many mythological and 
religious subjects, landscapes, animals, theat- 
rical decorations, wall and ceiling decora- 
tions, besides making about 10,000 drawings. 
Works: Venus demanding Arms of Vulcan 
(1732), Rinaldo and Armida (1734), Diana 
leaving the Bath (1742), Vulcan giving Arms 
to Venus (1757), Vertumnus and Pomona 
(1763), Cephalus and Aurora (1768), Jupiter 
and Callisto, Rape of Europa, Venus asking 
Vulcan for Arms, Neptune and Amymone, 
Amynthus freeing Sylvia, The Goal and four 
landscapes, Louvre; Reunion of the Arts, 
Angers Museum; Aurora and Cephalus, 
Nancy Museum; Painting, Silenus Drunk, 
Lille Museum ; Mercury entrusting the In- 
fant Bacchus to the Nymphs of Mt. Nisa, 
Caen Museum ; Amorous Gardener, Educa- 
tion of a Dog, Nimes Museum ; Cupids and 
Flowers, Nude Women Reclining, Toulon 
Museum ; Shepherd and Shepherdess, Bor- 
deaux Museum ; Pan and Syrinx, National 
Gallery, London ; Venus and Adonis, Barker 
Collection ; Young Mother Resting, Duc 
d’Aumale ; Leda, Douglas Collection ; Por- 
trait of Mme. de Pompadour, M. Henri Di- 
dier; do., National Gallery, Edinburgh ; 
Madonna, M. Hollond ; three mythological 
subjects, Stevens Collection; Woman Re- 
clining, several mythological subjects, Nar- 
vaez Collection; Woman with Straw Hat, 
Chevalier Collection, Paris ; Sunrise, Sunset, 
Lord Hertford ; The Kiss, Egmont-Massé 
Collection ; Toilet of Venus (1746), ‘The Toi- 
let (1746), Are they thinking of Grapes? 
(1747), Leda and Swan, Venus and Graces 
Bathing, Triumph of Galatea or Birth of 
Venus (1740), Stockholm Museum; Venus 
and Cupid, Berlin Museum; Peace and 


Boucher 


War, Boston Museum of Fine Arts; Res- 
cue of Arion, New York Museum ; Voluptu- 
ary, Winter Scene, Historical Society, New 
York.—Villot, Cat. Louvre ; Dohme, 3; Gon- 


court, i. 177, ii. 516; Mantz, Fr. Boucher 
(Paris, 1880); Ch. Blane, Ecole francaise ; 
Houssaye Gal., iii. 129 ; Portfolio (1872), 34; 
Gaz. des B. Arts (1874), x. 496. 

BOUCHOT, FRANCOIS, born in Paris, 
Nov. 29, 1800, died there, Feb. 7, 1842. 
French school; history painter, pupil of 
Regnault and Lethiére; won the grand prix 
de Rome in 1824; and then studied for 
seven years in Rome and Naples, during 
which period he sent several noteworthy 
compositions to Paris. Works: Battle of 
Ziirich in 1799, Versailles Museum ; Funeral 
of Gen. Marceau, Mairie, Chartres ; Intoxi- 
cation of Silenus, Lille Museum ; Magdalen 
under the Cross, Madeleine Church, Paris ; 
Portraits of Gen. Jaubert, of Lablache, of 
Grisi, etc.—Ch. Blane, Ecole francaise. 

BOUDEWYNS (Bauduins), ADRIAEN 
FRANS, baptised in Brussels, Oct. 3, 1644, 
died there about 1700. Flemish school ; 
landscape painter, pupil of Ignatius van der 
Stock ; admitted to guild, Brussels, in 1665. 
About 1670 he went to France; in 1677, 
had returned to Brussels. Painted many 
small landscapes with figures and animals 
by Pieter Bout. Works: Landscapes (9), 
Madrid Museum ; Fish Market at Antwerp, 
Louvre, Paris; Village Market (1686), Ant- 
werp Museum ; Landscape with Figures and 
Cattle, Rotterdam Museum; Fish Market, 
Fruit Market, Stockholm Museum; Southern 
Strand View, Brunswick Museum ; Convent 
Gate with Beggars, nine others, Dresden 
Gallery ; Landscapes (2), Museum, Vienna ; 
do. (8), Liechtenstein Gallery, ib.; do. (3), 
Uffizi, Florence ; others in Stuttgart, Des- 
sau, and Worlitz Galleries.—Biog. nat. de 
Belgique, ii. 788; Cat. du Musée d’Anvers 
(1874), 63; Jal, 127; Journal des B. Arts 
(1869), 35; Meyer, Kiinst. Lex., in. 139; 
Michiels, ix. 335. 

BOUDIN, EUGENE, born at Honfleur 
(Calvados); contemporary. Marine painter. 
Medals: 3d class,1881; 2d class,1883. Works: 
Fishing (1880); The Meuse at Rotterdam 
(1881); On the Meuse (1882) ; L’Entrée, La 
Sortie (1883); Low Tide, High Tide (1884); 


187 


BOUGH. 


Getting under Sail, The Meuse before Dor- 
drecht (1885). 

BOUGH, SAMUEL, born at Carlisle, 
Scotland, in 1822, died in Edinburgh, Nov. 
1878. Landscape painter, self-taught ; re- 
moved to Edinburgh in 1855; A.R.S.A. in 
1857, R.S.A. in 1875. Works : Shipbuilding 
on the Clyde; Kirkwall; London from 
Shooter’s Hill ; St. Monaw’s ; Winton Castle; 
Ben Nevis. 
BOUGHTON, 


GEORGE HENRY, born 
near Norwich, 
England, in 1834. 
Genre painter ; 
taken when three 
years old to Am- 
erica by his par- 
ents, who settled 
in Albany, N. Y. 
Self-taught; in 
1853 made a 
sketching tour 
through the Eng- 
lish Lake country, Scotland, and Ireland. In 
1858 he removed from Albany to New York, 
two years later went to Paris, and in1861 fixed 
his residence in London, where he has since 
remained. His Passing into the Shade, ex- 
hibited at British Institution,and his Through 
the Fields and Hop-Pickers Returning, Roy- 
al Academy, 1863, attracted considerable at- 
tention. Elected N.A. in 1871 and A.R.A. 
in 1879. His works are popular, and many 
of them have been engraved. Works: Last 
of the Mayflower, Breton Pastoral (1868) ; 
Age of Gallantry (1870); Colder than Snow, 
Chapter from Pamela (1871); Heir Presump- 
tive (1873); Canterbury Pilgrims (1874) ; 
Grey Days, Bearers of the Burden (1875) ; 
Homeward, Snow in Spring (1877); Priscilla, 
Widow’s Acre, Resting-Place (1879) ; Evan- 
geline, Omnia Vincit Amor (1880); Rose 
Standish, Dutch Seaside Resort, Island of 
Murken—Zuyder Zee (1881); Burgomaster’s 
Daughter, Weeders of the Pavement, 
Autumnal Ramble by the Spey (1882); 
Peace-maker, Sacred Mistletoe (1883) ; Mil- 
ton visited by Andrew Marvell, On the Spey, 


Salmon-Fishing (1885). Works in United 
States: Dismal Swamp, August Belmont, 
New York ; Idyl, Samuel Hawk Collection, 
New York; Pride and Humility, Break, 
Break, Break, Peasant Interior—Brittany, J. 
H. Warren, Hoosac Falls, N. Y.; Widow’s 
Garden, Th. B. Clark, New York; Gipsy 
Children, R. G. Dun, New York; Indian 
Summer, R. C. Taft, Providence; Girl’s 
Head, J. A. Brown, Providence ; Duel from 
“Twelfth Night,” J. Carey Coale, Baltimore ; 
Winter, C. H. Wolff, Philadelphia ; March 
of Miles Standish (1869), Going to Seek his 
Fortune, G. Whitney, ib. ; Puritan Soldier, 
J. G. Fell, ib.; Skipper’s Watch, W. B. Be- 
ment, ib.; Fisher Girl, H. G. Marquand, 
New York; Flower Girl, J. P. Morgan, New 
York; Spring—Return of the Swallows, 
Autumn—Departure of the Swallows, Win- 
ter—Dead Swallows, M. K. Jessup, New 


York; Puritans going to Church (1867), | 


Winter Scene near Albany, Normandy Girl, 


Mrs. R. L. Stuart, New York; Queen Mary,. 


Wife of the Conqueror, Going to Church, 
C. P. Huntington, New York; Rosamond’s 
Poisoner, F. Harper, New York; Enoch 
Arden and Annie Lee, End of Maying, 
Leaving Home, Down by the River, The 
Waif, Puritan Maiden going to Church, 
Edict of William the Testy (original study), 
C. 8. Smith, New York ; Return of the May- 
flower, F’. Rogers, Philadelphia; Waning 
Honeymoon, Venus and Adonis, W.T. Walters, 
Baltimore ; Comin’ through the Rye, L. 
Tuckerman, New York ; Edict of William the 
Testy (1877), Corcoran Gallery, Washing- 
ton.—Art Journal (1873), 41; Meynell, 21; 
Portfolio (1871), 67. 

BOUGUEREAU, (WILLIAM) ADOLPHE, 
born at La Rochelle, Nov. 30, 1825. French 
school ; history and genre painter ; pupil of 
Picot, and from 1843 of Ecole des Beaux 
Arts. Won the grand prix de Rome in 1850, 
and while a pensioner in that city sent sev- 
eral pictures to Paris which were much ad- 
mired. On his return to Paris he was en- 
trusted with important decorative works in 
public buildings, and in 1866 painted Apollo 


188 


BOUILLON 


and the Muses in the foyer of the theatre at 
Bordeaux. Medals: 2d class, 1855; 1st class, 
1857; 3d_ class, 


Philomela and 
Procne (1861), 
Madonna of Con- 
solation (1874), Birth of Venus (1879), Lux- 
embourg Museum; Venus caressing Love 
(1859); Faun and Bacchante, First Quarrel 
and Peace (1861); Poor Family, Shepherd- 
ess, Spanish Beauty, Bacchante (1863), Bor- 
deaux Museum; Mower, Harvest Time 
(1872) ; Bather, Flora and Zephyrus (1875); 
Madonna and St. John (1875), Mr. Bouci- 
cault ; Piet’ (1876), Prince Demidoff ; Tri- 
umph of Martyrdom, Triumph of Venus, 
First Caresses, Covetousness, Child with 
Bird, Spinning Maiden, Neighbour’s Love, 
Mowing Woman, Betrothal of St. Ann, 
Nymphs (1879); Aurora, Madonna with 
Angels (1881); Night (1883); Youth of Bac- 
chus (1884); Adoration of Magi, Adoration 
of Shepherds, diptych for St. Vincent de 
Paul, Paris (1885). Among his works owned 
in United States are: Mother’s Treasure, 
Miss OC. L. Wolfe, New York; Mother and 
Child, Twins, A. Belmont, New York ; Hesi- 
tating between Love and Riches, James H. 
Stebbins, New York ; Virgin and Angels, G. 
I. Seney, Brooklyn ; Far from Home, Robert 
Hoe, New York; Little Rogue, M. Graham, 
New York; Prayer, W. Rockefeller, New 
York ; La Tricoteuse, J. J. Astor, New York ; 
Maternal Solicitude, T. R. Butler, New York; 
Little Marauders (1873), D.W. Powers, Roch- 
ester; Nymphs and Satyr (1873), Hoffman 
House, New York ; Beggar-Girl, J. A. Brown, 
Providence ; Meditation, Bad Scholar, W. 
Mason, Taunton, Mass.; Homer and his Guide 
(1874), Mrs. A. T. Stewart, New York ; Holy 


1867; of honour, B= > Yo 
1878, 1885 ; L. of ee | 
Honour, 1859; By oe 
Officer, 1876; aE al \4 
Member of Insti- i wig DIN 
tute, 1876. GTN 
Works: Martyr's 
Triumph (1854), es WEF) 


Family, T. Wigglesworth, Boston ; Tambou 
rine Girl, H. P. Kidder, Boston ; La Rosiére, 
J. Carey Coale, Baltimore: Oranges, D. T. 
Buzby, Baltimore ; Italian Mother and Chil- 
dren, Hurlbut Collection, Cleveland ; Little 
Reader, H. V. Newcombe, New York; Guar- 
dian Angel, Young Bohemians, H. L. Dous- 
man, St. Louis ; Elder Sister, J. J. O’Fallon, 
St. Louis ; Purloining the Grapes, L. Stan- 
ford, San Francisco; Pensive, I. M. Scott, 
San Francisco; Two Portraits, A. E. Head, 
San Francisco; Persuasion of Marguérite, 
Mrs. D. D. Colton, San Francisco ; Little 
Marauders, E. B. Warren, Philadelphia ; 
Pastorale, Mrs. T. A. Scott, Philadelphia ; 
Nymphs Bathing, Alsatian Peasant, C. H. 
Clark, Philadelphia; Picking Cherries, W. 
B. Bement, Philadelphia ; Tambourine Girl 
(1873), Frank Work, New York; Charity 
(1874), F. W. Drexel, New York; Violet, A. 
J. Drexel, Philadelphia; Happy Wife, Bo- 
hemian Girl, Elder Sister, E. D. Morgan 
Collection, New York; Agnus Dei, M. K. 
Jessup, New York; Harvest, Alex. Brown, 
Philadelphia; Twins, John T. Martin, Brook- 
lyn ; Secret, Mother’s Prayer, Mrs. R. L. 
Stuart, New York; Listening to Sea-Shell, 
D. O. Mills, New York; Shepherdess, Boy 
and Flageolet, C. P. Huntington, New York; 
Spring, Fletcher Harper, New York ; Young 
Scholar, Charles Stewart Smith, New York ; 
Italian Boy, Going to the Bath, W. H. Vander- 
bilt, New York ; The Departure, A. E. Borie 
Collection, Philadelphia ; Bunch of Grapes, 
R. L. Cutting, New York; Charity, Young 
Reader, Samuel Hawk Collection, New York; 
Alma Parens (1883), G. R. Blanchard, New 
York; Flagellation, W. T. Walters, Balti- 
more; Early Morning, L. Tuckerman, New 


W- BOVGVEREAV- 1875 


York.—Claretie, Peintres, etc. (1874), 49; La- 
rousse ; Hamerton, French Painters; Meyer, 
Gesch., 400; Miiller, 70; Perrier, Etudes, 
134 ; Portfolio (1875), 42. 

BOUILLON CLAUDE. See Sheba. 


199 


BOULANGER 


BOULANGER, GUSTAVE (RODOLPHE 
METER Ce born in Paris, April 25, 1824. 
History painter, 
pupil of Jollivet 
and of Delaroche ; 
won the prix de 
Rome in 1849; re- 
turned from Italy 
in 1856; has trav- 
elled in Africa. 
Medals: 2d class, 
1857, 1859, 1863, 
and 1878; L. of 
Honour, 1865; 
Member of Institute, 1882. Works: Ulysses 
recognized by Eurycleia (1849); Czesar at 
the Rubicon; The Choassa, House of the 
Tragic Poet in Pompeii, Maestro Palestrina 
(1857) ; Arabian Herdsmen, Lucretia, Les- 
bia (1859); Hercules at Feet of Omphale, 
‘Copy of the Flute Player and the Wife of 
Diomed (Prince Napoleon) ; An Arab (1861); 
Cesar at the Head of the Tenth Legion, Ka- 
byles, The Defeat (1863) ; Horsemen of the 
Sahara (1864); Djeid and Rahia, Portrait of 
Hamdy-Bey (1865) ; Catharine I. with Me- 
hemet Baltadji, Woman selling Crowns in 
Pompeii (1866); The Mamillare (1867); El 
Hiasseub, Arabian Story-Teller, Street of 
the Tombs in Pompeii (1869); ’Tis an Emir, 
The Chaouches of the Hakem, Souvenir of 
Old Blidah (1870); Waiting for their Lord 
and Master (1872); The Search of the Aid 
Srir at Biskra (1873); Appian Way in Time 
of Augustus (1874); The Gyneceum (1875) ; 
Summer Bath at Pompeii, Roman Comedi- 
ans rehearsing their parts (1876); St. Se- 
bastian and the Emperor (1877); Repast in 
House of Lucullus (1878); Slave with a Fan 
(1882); Source of the Tiber (1883); Captive, 
Woman of the Ouleid-Nahir (1884); Jewish 
Water Carrier in Algiers, Mother of the 


C. Bove ance .!875. 


Gracchi (1885); Turkish Justice, Samuel 
Hawk Collection, New York.—Larousse ; 
Miller, 70. 


BOULANGER, LOUIS, born at Vercelli, 
Piedmont, March 11, 1806, died at Dijon, 
March 5, 1867. Genre painter, pupil of 
Lethiére and of Achille Devéria; one of 
the leading artists of the romantic school. 
Medals: 2d class, 1827; 1st class, 1835; 
L. of Honour, 1840; director of the School 
of Art in Dijon after 1860. He exhibited 
in most of the Salons from 1827 to 1866 ; 
has illustrated works of Victor Hugo and 
others. Works: Mazeppa (1827), Rouen 
Museum ; Assassination of Louis of Orleans 
by the Duke of Burgundy (1833), Ministry 
of Public Works; Hymn of Judith (1833), 
Ministry of the Interior ; Renard the Fox in 
the Gardens of Armida, Death and the 
Woodcutter, Spanish Mule-Drivers (1833); a 
series of brilliant water-colours representing 
scenes from Notre Dame de Paris, Beatrice 
Cenci, Lucretia Borgia, Othello, and King 
Lear (Salons of 1833 and 1834); Camacho’s 
Wedding (1835); Triumph of Petrarch 
(1837); Three Women beloved by Poets 
(1840, Dante’s Beatrice, Petrarch’s Laura, 
Ariosto’s Orsolina); Virgil’s Shepherds, 
Women Bathing (1845); Hecuba’s Grief 
(1858), Ministry of the Interior; Ugolino 
and his Sons (1858); King Lear and his 
Fool (1853); St. Jerome and the Roman Fu- 
gitives (1855); Gentlemen of the Sierra, Gui- 
tar-Player, Festival in the Castle of Lirias, 
Romeo buying the Poison (1857); Don Quix- 
ote and the Goatherd, Othello, Macbeth, 
The Message (1859); The Revery of Velléda, 
The Sunday Patrol (1861); Virgil’s Georgics 
(1863); Holy Family (1865), bought by 
State; Fear Nothing, thou bearest Czesar 
(1865) ; Concert in Picardy (1866).—La- 
rousse; Kunst-Chronik, ii.113 ; L’Art, 1. 224 ; 
Portfolio (1875), 178. 

BOULANGER, Mme. MARIE ELIZA- 
BETH (née Blavot), born in Paris in 1810. 
Genre painter ; pupil in water-colour of C. 
Roqueplan, and in oil of Louis Boulanger, 
whom she married; after his death she mar- 
ried F. Cavé, director of the Beaux Arts. 
Medals: 3d class, 18386; 2d class, 1839. 
Works: Child crying over its Goat, Jean 


190 


BOULLONGNE 


Jacques and the Little Savoyards, The Poor 
Woman, Bernard de St. Pierre at the Village 
(all water-colours), Paul Veronese’s Child- 
hood, Battle of Ivry, The First Ennuis, Louis 
XIIL, Convalescence, Kings, Triumph of 
Bacchus (1835-1849); Virgin in Tears, 
Rouen Museum; Children’s Tournament 
(water-colour), triptych (belongs to State). 

BOULLONGNE, BON, born in Paris 
in 1649, died 
there, May 16, 
1717. French 
school ; history 
painter; eldest 
son and pupil 
of Louis B.; 
studied in 
Rome five years 
under the pen- 
sion of the king, 
became a mem- 
ber of the Academy in 1677, adjunct profes- 
sor in 1684, and professor in 1692. He re- 
ceived the favour of Louis XIV., who em- 
ployed him to paint the staircase at Ver- 
sailles, under the direction of Le Brun. He 
also executed frescos in the Church of the 
Invalides, in St. Ambroise, and in the Tri- 
anon and the chapel at Versailles. Works: 
Annunciation, St. Benedict restoring a 
Child, Marriage of St. Catherine, Hercules 
fighting the Centaurs (1677), Juno and 
Flora, Venus and Loves, Louvre; Calling of 
Sons of Zebedee, Dublin Gallery. — Villot, 
Cat. Louvre. 

BOULLONGNE, LOUIS, the elder, born 
in Paris in 1609, died there, June 13, 1674. 
French school; history painter, pupil of 
Blanchard; studied afterwards in Rome. On 
his return to Paris he executed several vo- 
tive pictures for Notre Dame and decorative 
paintings for public buildings. ° In 1656 
he was nominated professor at the Academy. 
His daughters, Genevieve (1645-1708) and 
Madeleine (1646-1710), were also painters 
and members of the Academy. 

BOULLONGNE, LOUIS DE, the 
younger, born in Paris in 1654, died there, 


Nov. 20, 1733. French school; history 
painter; brother of Bon de B. Obtained the 
academical prize fe 

when eighteen, shes 
and went in Ag 
1675 to Rome, Sad 
where he made (Giga ey 


copies, full-size, wy a 1 3 as a ! 
of Raphael’s Vat- med ae 4 ye 
ican frescos for SROp Suc Bas ES) 
the Gobelin tap- ? K (} ALIN ‘ 


estry manufac- 
tory. In 1680, [ze 
after visiting 
Lombardy and Venice, he returned to 
France, and executed many votive and dec- 
orative paintings for Notre Dame and other 
public buildings in Paris. In 1651 he be- 
came Academician, 1693 professor, 1717 rec- 
tor, and 1722 director of the Academy ; the 
same year he was decorated with the order 
of St. Michael, ennobled in 1724, and ap- 
pointed painter to the king in 1725.—Ch. 
Blane, Ecole frangaise. 

BOUQUET, MICHEL, born at Lorient, 
(Morbihan), Oct. 17, 1807. Landscape and 
marine painter; pupil of Gudin. Famous 
as a painter on porcelain. Medals: 3d class, 
1839; 2d class, 1847, 1848; L. of Honour, 
1881. Works: Sunset; View on the Blavet 
(1839) ; Shoemaker’s House in Valley of. 
Chevreuse; Halt of Hunters at Fontaine- 
bleau ; View near Palermo ; Danube in Hun- 
gary (water-colour, 1847); Evening in Wal- 
achia ; Landscape near the Chevreuse ; Last 
Leaves of Autumn, Souvenir of Normandy 
(water-colour, 1848); Cow-Pond in Brittany 
(on porcelain, 1863); Spring and Autumn 
(porcelain, 1866); Old Mill by Moonlight 
(porcelain, 1877); View on the Seine (1879); 
Isle of Capri (1882).—Larousse. 

BOURCE, HENRI (JACQUES), born in 
Antwerp in 1826. Genre painter ; pupil 
of the Antwerp Academy, under Wappers ; 
travelled in Holland, France, Italy, Ger- 
many, Norway, England, and Scotland. 
Medals : Hague (1857), Brussels and Rotter- 
dam (1863), Amsterdam (1868 and 1876), 


tl. 


\ Yee 
es 


191 


BOURDON 


London (1872 and 1873), Vienna (1873). 


Order of Leopold (1869), Officer (1881); 


Studio in Antwerp. Works: Return from 
Vintage (1853); Marie Antoinette taken from 
the Temple, Summer Evening by the Sea 
(1863), Hague Museum; Empty Cradle 
(1867), Liége Museum ; Sorrowful Tidings 
(1868), Brussels Museum; Ripe Cherries 
(1874), Ghent Museum; Day after Storm 
(1875) ; Return from Baptism.—Miiller, 71. 

BOURDON, SEBASTIEN, born at Mont- 
pellier, Feb. 2, 
1616, died in 
Paris, May 8, 
1671. French 
school; history 
painter; pupil 
of Barthélemy 


\ his fifteenth 
ov \\ year, when he 
Bor- 
deaux, where 
he painted in fresco ; and to Toulouse where, 
finding no employment, he enlisted. In 1634, 
having obtained his dismissal, he proceeded 
to Rome, made copies from the old masters 
for a dealer for three years, and then re- 
turned to Paris to escape the Inquisition. 
There during the next sixteen years he 
painted battle pieces, hunts, landscapes, and 
portraits, and the Crucifixion of St. Peter 
for Notre Dame, now in the Louvre. In 
1648 he assisted in founding the Academy, 
and in 1652 went to Sweden, where he be- 
came court painter. ‘Ten years later he re- 
turned to 


Paris, and in 
1665 was ap- oe Aw 


pointed di- 
rector of the Academy. Works: Sacrifice 
of Noah, Solo- 


mon _sacrificin 
Bourdon esi te 


to Idols, Adora- 
tion of Shep- 
herds, Repose of Holy Family, Madonna 
with St. John, Christ and the Children, De- 
scent from Cross, Decollation of St. Protais, 


Martyrdom of St. Peter, Julius Cesar be- 
fore Tomb of Alexander, Halt of Bohemians 
(2), Laban seeking his Idols, Presentation 
in the Temple, Portrait of Descartes, his own 
portrait, and others, Louvre ; Group of Mer- 
chants, Hague Museum ; Bacchanal, Liver- 
pool Institute ; Death of Dido, Hermitage, 
St. Petersburg; Return of the Ark from 
Captivity, National Gallery, London.—Ch. 
Blanc, Ecole frangaise. 

BOURGEOIS, EUGENE (VICTOR), born 
in Paris; contemporary. Landscape painter. 
Medal, 3d class, 1885. Works: Corner of 


the Forest, Orchard of Flowers (1880); Les. 


Graves at Villerville (1881); Little Bridge of 


Gravoteaux (1882); Pointe du Grand-Bec, 


Tuilerie de Maureyert (1883); Meadow in 
Environs of Villerville (1884); Le Val at Vil- 
lerville, La Fontaine-Virginie at Pennedepie 
(1885). 

BOURGEOIS, (LEON PIERRE) UR- 
BAIN, born at Nevers, France ; contempo- 
rary. 
of Sebastin Cornu, H. Flandrin, and Caba- 
nel. Medals: 3d class, 1877; 2d class, 1880. 
Works: St. Sebastian (1877) ; Justinian Em- 
peror of the East (1878), Court of Cassation, 


Paris ; Body of St. Vincent guarded from > 


Birds of Prey by Angels (1879); Portrait 
of My Little Daughter (1881); Innocence 
(1883); Diana after the Chase (1884), M. J. 
Darcel. 

BOURGEOIS, Sir PETER FRANCIS, 
born in London in 1756, died there, Jan. 8, 
1811. Of Swiss descent; pupil of Lou- 
therbourg ; travelled in Brance Holland, and 
Italy in 1776, and on his return attained rep- 
utation for his landscapes with cattle and 
figures. In 1791 he was appointed painter to 
the King of Poland and knighted; became an 


L yO wry 20 on 
A.R.A. in 1787, R.A. in 1793, and landscape 


painter to George OIL in 1793. He left his 
fine collection of 350 paintings, bequeathed 


192 


History and portrait painter; pupil ~ 


a ee ee er 


ee a re ee es 


BOURGET 


to him by his friend Noel Desenfans, to Dul- 
wich College, and £12,000 to build a gallery 
for them. Works: Landscapes, etc. (22), 
Dulwich Gallery. — Redgrave ; Ch. Blane, 
Ecole anglaise ; Richter, Dulwich Gal. Cat. ; 
Sandby, 1. 300. 

BOURGET, LE, DEFENCE OF, Al- 
phonse de Neuville, W. H. Vanderbilt, New 
York ; canvas, H. 5 ft. x 8 ft. Episode of the 
Franco-German war of 1870-71. A handful 
of French—eight officers and twenty men— 
barricaded themselves in the village church, 
swearing to die together rather than sur- 
render. ‘It was necessary,” wrote Gen. 
Duroe, “to shoot them through the win- 
dows and to bring up cannon to force a ca- 
pitulation.” The dying Lieut. Grison is be- 
ing carried out of the church by two of his 
men. Painted in 1878.—Art Treasures of 
Amer., iii. 103 ; Kiinst-Chronik, xv. 387. 

BOURGUIGNON, LE. See Courtots. 

BOUT, PEETER, baptized in Brussels, 
Dec. 5, 1658, died about 1700. Flemish 
school ; executed with Boudewyns a num- 
ber of pictures, which, like those of Velvet 
Brueghel, occupy a place midway between 
landscape and genre, and in which he painted 
the figures. Works: Palace (by Dupont) 
with figures, Ghent Museum; Figures in 
Winter Landscape by d’Arthois, Brussels 
Museum ; Figures in Landscape by Boude- 
wyns in Madrid, Antwerp, Rotterdam, Bruns- 
wick, Dresden,and Vienna Museums, Uffizi, 
Florence, and Louvre, Paris.—Biog. nat. de 
Belgique, ii. 873; Cat. du Musée d’Anvers 
(1874), 68; Michiels, ix. 342. 

BOUTERWEK, FRIEDRICH AUGUST, 
born at Tarnowitz, Silesia, Feb. 9, 1806, died 
in Paris, Nov. 11, 1867. History painter ; 
pupil of Berlin Academy under Kolbe, and 
in 1831 of Delaroche in Paris, where he set- 
tled after visiting Italy in 1834. He received 
23 medals and many orders. His works are 
pleasing in arrangement, clear in colouring, 
and finished in execution. Works: Orestes 
(1833) ; Arabian Sentry, Romeo and Juliet 
(1836); Patriarchal Repast (1839); Tsaac and 
Rebecca (1840); Neapolitan Scene, Episode 


from Wedding of Camacho ; Jacob and Ra- 
chael (1844); Baptism of the Chamberlain 
(1848) ; Charlemagne in Argenteuil.—All- 
gem. d. Biogr., ili, 216; Revue artistique 
(1870); Rosenberg, Berl. Malersch., 186. 
BOUTIBONNE, CHARLES EDOUARD, 
born at Buda-Pesth, Hungary, of French 
parents; contemporary. Genre painter ; 
pupil of Winterhalter. Medal, 3d_ class, 
1847. Works: Phryne (1868); Susannah 
(1881); Sirens (1883). Works in United 
States : Inquisitive Maid, T. R. Butler, New 
York; Skating, D. W. Powers, Rochester, 
N. ¥.; Broken Heart, W. Mason, Taun- 
ton, Mass. ; Readers, ‘‘ Be quiet, Sir!” A. 
Adams, Watertown, Mass.; Skating, J. T. 
Martin, Brooklyn; What shall I say to 
Him? E. B. Warren, Philadelphia ; Travel- 
ling in Switzerland, Mrs. R. L. Stuart, New 
York ; On the Ice, F. Harper, New York. 
BOUTIGNY, (PAUL) EMILE, born in 
Paris; contemporary. History painter, 
pupil of Cabanel. Medal, 3d class, 1884. 
Works: A Cantonment (1880); Episode of 
the Affair of Quiberon—June 26, 1795 
(1881); Episode of Combat of Bapaume in 
1870 (1882); Pousse-café (1883); Boule-de- 
Suif (1884); Attack on the Mill (1885). 
BOUTS, DIERICK, born in Haarlem 
about 1410-20, died at Louvain, May 6, 
1475. Flemish school. Called sometimes 
Dirk van Haarlem and Dierick de Louvain. 
Settled in Louvain after 1450. History 
painter of great merit, of the Van Eyck 
school, in which he is almost unequalled in 
glowing depth and transparent clearness of 
colouring ; his delicacy of personification 
and tenderness of execution are only marred 
by the exaggerated stiffness and slimness of 
his figures. Best works: Martyrdom of St. 
Erasmus and Last Supper, St. Peter, Louvain. 
Two wings of this altarpiece, Shower of 
Manna and Abraham before Melchisedee, are 
in the Old Pinakothek at Munich, two others, 
Feast of the Passover and Feeding of Elijah, 
in Berlin Museum. Judas taking our Lord, 
Old Pinakothek, Munich ; Martyrdom of St. 
Hippolitus, Bruges Cathedral ; Funeral of a 


193 


BOWLES 


Bishop, Eastlake Collection, London; Le-|. 


gend of Emperor Otto Ill, Last Supper, 
Brussels Museum ; Coronation of the Vir- 
gin, Vienna Museum.—C. & C., Flemish 
Painters, 321; Ch. Blane, Ecole flamande ; 
Dohme, 1i.; Biog. nat. de Belgique, i. 877; 
Michiels, iii. 234 ; iv. 455; W. & W., 11. 40. 

BOWLES, MISS, Sir Joshua Reynolds, 
Sir Richard Wallace, Bart., Hertford House, 
London ; canvas. A young girl seated on 
the ground, caressing a spaniel; background, 
landscape, with lowering sky. Called also 
Miss Bowles and her Dog, Girl with Dog, 
and Juvenile Amusement. Painted in 1775 
for 50 guineas; bought by Marquis of 
Hertford for 1,000 guineas. Engraved by 
W. Ward (1798), W. Fry, C. Turner, J. Gro- 
zer, S. Cousins.—Athen., March, 1875, 365. 

BOXALL, Sir WILLIAM, born at Ox- 
ford, June 26, 1800, died in London, Dec. 
6, 1879. Student of the Royal Academy in 
1819; visited Italy in 1827 and 1833, and 
repeatedly after he became director of 
the National Gallery. When young he exe- 
cuted a few subject pictures, among them 
Jupiter and Latona (1823), Contention of 
Michael and Satan for the Body of Moses 
(1824), Milton’s Reconciliation with his 
Wife (1829), and Lear and Cordelia (1831), 
but finally devoted himself to portraiture, 
among his sitters being Wordsworth, Lan- 
dor, Lord Coleridge, Gibson, Copley Field- 
ing (National Portrait Gallery), Allan Cun- 
ningham, the Prince Consort, and other 
eminentmen. Became an A.R.A. in 1851 and 
R.A. in 1868 ; succeeded Sir Charles East- 
lake as director of the National Gallery in 
1865, retired on account of ill-health in 1874, 
and in 1871 was knighted.—Cat. Nat. Gal.; 
Atheneum, Dec. 13, 1879; Sandby, ii. 
326. 

BOYLE, FERDINAND T. L., born in 
the United States, contemporary. Genre 
painter. Is an associate of the National 
Academy. Studio in New York. Work: 
Gran’ther’s Pet (1884). 

BOZACCO or BOZZATO. See Bazacco. 

BRACCHETONHE, IL. See Volterra. 


BRACHT, FELIX PROSPER EUGEN, 
born at Morges on Lake Geneva, June 3, 
1842. Landscape painter; pupil of the 
Carlsruhe Art School, and from 1861 in Diis- 
seldorf, under Gude; gave up painting in 
1864 and was for ten years a cotton broker ; 
returned in 1875 to Carlsruhe, and has 
since then exhibited some excellent pictures. 
Medal, Carlsruhe, 1877. Works: Idyl from 
Heath of Liineburg ; Giant’s Grave on Liine- 
burg Heath ; Stormy Evening on Riigen; 
Shepherd on the Heath ; Sandy Road in the 
Heath; Landscape on Riigen(1879). Hxhibi- 
ted at Munich (1883), Moonlight Night in 
the Desert, On the Dead Sea.—Miiller, 72. 

BRACKETT, WALTER M., born at 
Unity, Me. in 1823.  Self-taught; first 
painted portraits and ideal heads, later very 
successful in painting fish. President of the 
Boston Art Club many years. Studio in 
Boston. Works: After the Battle, Earl of 
Dufferin ; A Series of pictures: Rise, Leap, 


Last Struggle, Landed, Sir Richard Potter, . | 


London ; Trout Picture, Grisle (1881). 
BRADAMANTE AND FIORDASPINA, 
Guido Reni, Uffizi, Florence; canvas. Brada- 
mante, near a fountain, listens to Fiordas- 
pina, who relates the sad adventure of 
Roger (Orlando Furioso, Canto L.). Procured | 
in 1667 from the Casino Mediceo, near 8S. 
Marco, Florence.—Soce. Ed. et Paris, Pl. 117. 
BRADFORD, WILLIAM, born at New 
Bedford, Mass., about 1830. Marine paint- 
er; self-taught, but influenced by Van 
Beest, whose studio at Fairhaven he shared 
for two years. Began by painting ships in 
the harbour at Lynn, Mass., and on the 
coasts of Labrador and Nova Scotia ; after- 
wards made several Arctic expeditions with 
Dr. Hayes, the explorer, and others, to 
study icebergs and ice-floes, and from the 
sketches painted pictures which were ex- 
hibited in London and bought by the 
Queen, Baroness Burdett-Coutts, and the 
Marchioness of Lorne. Elected A.N.A. in 
1874. Studio in New York. Works: 
Steamer Panther among Icebergs in Mel- 
ville Bay under Light of Midnight Sun, 


194 


BRAEKELEER 


(Royal Academy, 1875), the Queen ; Fishing- 
Boats in the Bay of Fundy ; Shipwreck off 
Nantucket ; Light-house in St. John Har- 
bour; Fishing-Boats getting under Way ; 
July Afternoon off Round Hill Light, Fish- 
ing Craft among the Bergs (1882); Fishing 


Craft at Sunset—Coast of Labrador (1883); 


Quiet Afternoon in Straits of Belle Isle, 
Return of Labrador Fishing Boats (1884). 
—Art Journal (1873), 225. 
BRAEKELEER, FERDINANDUS DE, 
born in Antwerp, Feb. 19, 1792, died there, 
May 16, 1883. History and genre painter ; 
pupil of the Antwerp Academy, and of M. 
I. van Brée; obtained the great prize in 
1819, and studied three years in Rome, 
where he painted historical subjects in 
the style of David; after his return de- 
voted himself to genre subjects, especially 
family scenes. He has educated many pu- 
pils who have attained fame. Order of 
Leopold; Member of Antwerp Academy, 
and director of Antwerp Museum. Works: 
Healing of Tobias, Esau and Isaac, Citadel 
of Antwerp, Day after Surrender, Countess 
of Lalaing at Defence of Dornick, Happy 
Domestics, Golden Wedding (Brussels Mu- 
seum), Domestic Quarrel, Matrimonial 
Peace, Jan Steen on the Ice, Love Declara- 
tion, St. Thomas’ Day, Village School ; De- 
- fence of Antwerp in 1576 (1837), Death of 
Count Frédéric de Mérode, Antwerp Muse- 
um; Defence of Antwerp against Duc 
d’Alengon in 1583; Quarrel after Dinner, 
The Husband’s Toilet (1852), National Gal- 


FDS ach leer, 


lery, Berlin ; Happy Family, Unhappy Fam- 
ily (1852), Corcoran Gallery, Washington.— 
Larousse, ii. 1186 ; Miller, 73. 
BRAEKELEER, HENRI DE, born in 
Antwerp, contemporary. Genre painter ; 
son and pupil of Ferdinandus de B. Medals 
at Brussels (1872), Vienna (1873); honour- 


able mention, Paris (1880) ; Order of Leo- 
pold. Studioin Antwerp. Works: Interior 
of Chapel in St. James’ Church, Antwerp ; 
Interior of St. Hubert’s Chapel in same 
church; The Tailor; Manufacturer of 
Matches.—Larousse. 

BRAEMAR, Sir Edwin Landseer, C. ¥’. H. 
Bolckow, Marton Hall, Middlesborough, 
England. Scene in Braemar, Highlands, 
Aberdeenshire, Scotland. A magnificent 
stag, with a group of does around him, 
stands in the mist on the brow of a hill, 
bellowing defiance to the hunter, or to other 
males of his own kind ; a rabbit appears in 
the grass. Royal Academy, 1857. Bought 
for £5000. 

BRAITH, ANTON, born at Biberach, 
Wiirtemberg, in 1836. Animal painter ; 
pupil of Art School, Stuttgart, and from 
1860 of Munich Academy. Gold medal, 
Munich, 1869. Works: Cows in the Woods 
(1865); Cows in Cabbage-Field (1868); Yoke 
of Oxen (1870), Kunsthalle, Hamburg ; Cat- 
tle returning Home (1871); Sheep Resting 
(1871); Flock of Sheep in the Woods (1872); 
Herd at the Brook (1873); Herd overtaken 
by Storm (1874); Flock of Sheep by a Dead 
Hare (1875); Goatherd on Mountain Lake 
(1879); Cattle, W. Mason, Taunton, Mass.; 
Cattle, E. D. Morgan, N. Y.—Miiller, 73 ; 
Illustr. Zeite. (1870), ii. 50; (1877), i. 201. 

BRAKENBURGH, RICHARD, born in 
Haarlem, baptized May 22, 1650, died 
there, Dec. 28, 1702. Dutch school; genre 
painter ; pupil of Hendrik Mommers ; joined 
the guild of Haarlem in 1687. Influence 
of Adrian van Ostade apparent in his pict- 
ures. Works: Tavern Interior (1692), Bor- 
deaux Museum ; Children’s Festival (1698), 
Brussels Museum; Interior with Peasants 
drinking and smoking, Amsterdam Muse- 
um; Sick-room, Rotterdam Museum ; Com- 
pany in Peasant’s Room (1689), Brunswick 
Museum; two pictures (1698), Hanover 
Gallery ; Young Peasant with Bottle, Dres- 
den Gallery; Party of Jovial Peasants, Fes- 
tival of the Beans (1690), Vienna Museum ; 
Two Artist’s Studios, Windsor Castle, Eng- 


195 


BRAMANTINO 


land. — Ch. Blane, Ecole hollandaise ; 
Kramm, i. 148; Van der Willigen, 89. 
BRAMANTINO (Bramantino da Milano), 
born in Milan(?), died there about 1535. 
Lombard school; real name Bartolommeo 
Suardi; probably taught in local schools of 
Milan, afterward journeyman to Bramante. 
Among the earliest pictures assigned to 
him are Crucifixion, Municipio, Milan ; Cir- 
cumcision (dated 1491), Louvre ; and Dead 
Christ, S. Sepolero, Milan. He followed 
Bramante to Rome in the beginning of the 
16th century, and was employed by Julius 
II. in the Camera dell’ Eliodoro, but re- 
turned to Milan after the expulsion of the 
French from Lombardy, and painted there 
probably until near 1536, in which year his 
heirs are mentioned. All his later works 
show the influence of Leonardo da Vinci. 
Among his best are: Madonna and Angels, 
Brera, Milan; Head of St. John the Bap- 
tist, St. Jerome, Madonna and Saints, Am- 
brosiana, Milan ; Flight into Egypt, Church 
of the Madonna del Sasso, Locarno ; Pieta 
over portal of S. Sepolcro ; St. Sebastian, 


/3 Bram amlino 


S. Sebastiano, Milan.—C.:& C., N. Italy, ii. 
14; Vasari, ed. Le Mon., iv. 17, viii. 14; Ch. 
Blane, Ecole milanaise ; Burckhardt, 609 ; 
Liibke, Gesch. ital. Mal., i. 494. 

BRAMER, LEONARD, born at Delft in 
1596, died after 
1667. Dutch 
school ;_ history 
and allegory 
painter. Went 
to France and 
Italy in 1614, 
returned to Delft 
in 1625, and en- 
tered the guild 
of St. Luke in 
1629. Fond of 

“ candlelight ef- 
fects, in the manner of Honthorst, and of 


Oriental or Jewish costumes, like Lastman 
and Rembrandt, of whom he became an 
imitator in his later years. Works: Descent 
from the Cross, Rotterdam Museum ; Christ 
among the Doctors, Simon in the Temple, 
Brunswick Gallery ; Christ and the Scofters, 
Solomon in the Temple, Queen of Sheba 
before Solomon, Dresden Gallery ; Two 
Allegories, Vienna Museum; Resurrection 
of Lazarus, Turin Gallery ; Hecuba’s Grief, 


Abraham 
J eae 


visited by 

Angels, 

seum.—Ch. Blane, Ecole hollandaise; Bode, 
Studien, 351; Riegel, Beitrige, ii. 217. 

BRAMTOT, ALFRED HENRI, born in 

Paris ; contemporary. History painter, pu- 

pil of Bouguereau. Won the grand prix de 


Madrid Mu- . 


Rome in 1879. Medals: 3d class, 1879; 2d 


class, 1885. Works: Bashful Love (1879); 
Punishment of Ixion (1882); Compassion 
(1883); Departure of Tobias (1885). 
BRAND, JOHANN CHRISTIAN, born 
in Vienna, Nov. 15, 1723, died there, 
June 12, 1795. German school ; landscape 
painter ; son and pupil of Christian Hilfgott 
(born in Frankfort on the Oder, in 1695, 
died in Vienna, about 1750). He was court 
painter and, from 1771, professor at the 
Vienna Academy, and was considered one 
of the best artists in his line. Works: 
Landscape with Ruin (1741), do. with Peas- 
ants and Herd (1746), Battle of Hochkirch 
(1766), four landscapes (1768, 1771), Vi- 
enna Museum; ten in Prague Gallery ; 
others in galleries of Germany, France, 
England, and Russia. By his father are 
three Wood Landscapes in the Vienna Mu- 
seum, ten others in the Prague Gallery.— 
Allgem. d. Biog. iii. 236 ; Wurzbach, ii. 110. 
BRANDEL, PETER JOHANN, born in 
Prague in 1660, died at Kuttenberg, Bohe- 
mia, in 1739. German school; history 
painter, pupil of the court painter Schroter, 
whom he soon surpassed; studied then 
after great masters in the galleries of 
Prague. Works: Baptism of Christ, Prague 


196 


ee Ni te a a 


Pr ih ll 


ei 


“epee. dy 


ee 


BRANDELIUS 


Cathedral ; Christ and the Woman taken in 
Adultery, Museum, Vienna ; Joseph receiv- 
ing his Brothers in Egypt, Czernin Gallery, 
ib.; St. Jerome, Schonborn Gallery, iD. 
Mary Magdalen, Mentz Cathedral.— Wurz- 
bach, ii. 118. 

BRANDELIUS, (BENGT JOHAN) GUS- 
TAF, Swedish ; born at Fredsberg, West- 
Gothland, Oct. 22, 1833. Animal painter, 
pupil of Stockholm Academy ; studied then 
in 1852 at Upsala ; painted in 1856, when 
lieutenant in the army, at Gothenberg, 
many excellent portraits, and studied from 
1857 at the Diisseldorf Academy under 
d’Unker ; then in Paris, where he copied in 
the Luxembourg and after Troyon. Since 
1874, member of the Stockholm Academy. 
Works: Norman Horses ; Soldier’s Child at 
the Gate; Spring in the Woods (1868); 
First Riding Lesson ; Besieged Favourite ; 
The Future Hussar; Return from the 
Woods; Adventure on the Promenade 
(1875).—Miiller, 74. 

BRANDES, HEINRICH, born at Bort- 
feld, Brunswick, in 1803, died at Brunswick, 
Oct. 6, 1868. Landscape painter; pupil in 
Brunswick of Barthel, then in 1823-25 at 
the Munich Academy, under Cornelius ; re- 
mained in Munich five years longer, making 
sketching trips into the Tyrolese Alps. In 
1830-31 he visited Italy, especially Rome, 
and after his return settled in Brunswick, 
where, in 1835, he became professor at the 
Carolinum College and inspector of the 
Ducal Gallery. In 1845 he restored, with 
Neumann, the old paintings in the Bruns- 
wick Cathedral. Works: View near Marino ; 
View near Rome; Subiaco; Inundation; View 
in Oker Valley; Landscape in the Hartz; 
several Mountain and Winter Landscapes ; 
Views in Tyrol and in the Hartz Mountains ; 
View near Salzburg, New Pinakothek, Mu- 
nich.—Kunst-Chronik, iv. 21. 

BRANDON, JACOB EMILE EDOU- 
ARD, born in Paris, July 3, 1831. Flemish 
school ; genre and history painter, pupil of 
Picot, Montfort, and Corot. Medals, 1865, 
1867. Works: Kiss of Moses’ Mother (1867); 


Parisian Studio (1868); Exhibition of the 
Pentateuch, Talmud Lesson (1869); The 
Sabbath, Examination (1870); Improvisatore 
in the Campagna, Lille Museum. 

BRANDT, ELIZABETH, portrait, Ru- 
bens, T. M. Whitehead, England ; canvas, H. 
4 ft. x3 ft.; dated 1622. The artist’s first 
wife, in black dress, with ruff and white 
cuffs, and gold brocade corset, seated in an 
arm-chair, with altarin background. Ham- 
ilton Palace sale (1882), £1837 10s.—Acad- 
emy, xxi. 246, 456. 

BRANDT, JOZEF, born at Szczebrzeszyn, 
Poland, Feb. 11, 
1841. History and 
genre painter ; pu- 
pil in Paris of the 
Ecole Centrale, and 
in Munich of Franz 
Adam and Piloty. 
Studio in Munich. 
Medals: Munich, 
1869; Vienna, 
1873; Berlin, 1876. 
Member of Berlin and Munich Academies ; 
Order of Franz Josef; mention honour- 
able, Paris. Works: Attack of Polish Cay- 
alry (about 1865); Polish Peasants before 
an Inn (1870); Episode from Relief of 
Vienna (1870); Episode from Campaign in 
Jutland in 1658 (1870); Cossack Camp in 
17th century (1872); Polish Fair (1872); 
Battle of Vienna in 1683 (1872); Polish 
Cavalry on Patrol, Rollicking Quartering 
(1873); Cossacks from Ukraine (1874), 
Konigsberg Museum ; Uhlans in a Village, 
Crossing the Carpathian Mountains, Camp 
Scene at the Fire, Cossacks on Outpost 
(1876), Tartar Battle (1878), National Gal- 
lery, Berlin ; Wallachians fording a Stream, 
J. D. Lankenau, Philadelphia; Tartars in 
Flight, D. H. McAlpin, New York ; Critical 
Moment (1884); Czabans caught in the 
Snow in the Ukraine (1885).—Miiller, 74; 
N. illustr. Zeitg. (1879), ii. 539; (1880), il. 
714. 

BRASCASSAT, JACQUES RAYMOND, 
born at Bordeaux, Aug. 30, 1805, died in 


197 


BRASEN 


Paris, Feb. 27, 1867. French school ; land- 
scape and animal painter, pupil of Richard 
and of Hersent. Won the second grand 
prize for historic landscape in 1825, and 
went to Rome, where he resided six years. 
He was the first to revive the painting of 
animals, which had fallen into discredit. 
Medals: 2d class in 1827; Ist class in 
1831 and 1837; L. of Honour, 1837. Mem- 
ber of Institute, 1846. Works: Meleager 
Hunting (1825); Mercury and Argus, Ital- 
ian Views (1827); View of Cassano, Temple 
of Venus at Baiz, Castel Rouge, Landscape 
with Animals, Study of a Dog (1831); 
Cow attacked by Wolves and defended by 
Bulls, Bulls Fighting, Nantes Museum ; 
Animals Resting (1837); The Bull (1842); 
Landscape with Animals (1845), Louvre ; 
Death of the Boar of Calydon, two land- 
scapes with animals, Bordeaux Museum ; A 
Pasture, Montpellier Museum ; A Sorceress, 
Toulouse Museum; Study of Horse, B. 
Wall, Providence.—Larousse ; Kunst-Chro- 
nik, ii. 202. 

BRASEN, HANS OLE, born at Hillerd, 
Denmark, Jan. 16, 1849. Genre painter, 
pupil of Copenhagen Academy; visited 
North Italy in 1874, Tyrol and Paris in 
1879. Works: Geese driven Home (1875); 
Washing Place at Srup (1875); On Way to 
Market, Scenes near Lago di Garda (1877) ; 
Hussars watering Horses, Mare with Colt 
(1879); Domestic Happiness (1880); Court- 
ing (1881).—Sigurd Miller, 47. 

BRAUN, ADAM, born in Vienna in 1750, 
died there in 1827. German school; genre 
and portrait painter, pupil of Vienna Acad- 
emy at the age of twelve ; member in 1789. 
Highly esteemed as a restorer of old 
paintings. Works: Gentleman threading 
Needle for Lady (1785), Museum, Vienna ; 
Lady resting on Sofa, Liechtenstein Gal- 
lery, ib.— Wurzbach, ii. 118. 

BRAUN, AUGUSTIN, born in Cologne, 
about 1570, died there after 1627. German 
school; history and portrait painter. Works: 
Martyrdom of St. Febronia, Wallraf Mu- 
seum ; Seven Scenes from the Passion, St. 


George’s Church, Seven Scenes from Life of 
St. Martin, St. Mary’s Church, Cologne.— 
Allgem. d. Biog. ii, 264; Merlo, Nachrich- 
ten, 58. 

BRAUN, LUDWIG, born at Schwiabisch 
Hall, Wtirtemberg, Sept. 23, 1836. Battle 
painter; brother of Reinhold B., pupil of 
Stuttgart Art School; studied then in Mu- 
nich and Paris. Painted in Nuremberg a 


cycle from the family history of the Counts — 


of Hunoldstein; visited in 1866 and 1870-71 
the battle-fields of those years, and executed 
for the Grand Duke of Mecklenburg sey- 
eral pictures. Studio in Munich. Works: 


Series of water-colour scenes from war in 


Schleswig-Holstein, Tournament at Nurem- 
berg in 1496, Scenes from Campaign of 
1866, Suabian Kirmess (1869), Episode 
from Battle of Worth, Capitulation of Se- 
dan, Entry of the Mecklenburgers into Or- 
léans, The Germans at Versailles, Entry into 
Paris, Panorama of Battle of Sedan (1880). 
—Miiller, 74; Ilustr. Zeitg. (1870), i. 343. 
BRAUN, REINHOLD, born at Hall, Wiir- 
temberg, April 25, 1821, died in Munich, 
Jan. 22, 1884. Military genre painter ; 
pupil of Stuttgart Art School from 1836, 
then of Munich Academy in 1843-50; took 
part in the campaign of 1849 in Baden, at 
the headquarters of the Prince of Prussia. 
Works: Pasture and Market Scenes, Rural 
Festivals, Horses, Manoeuvre Scenes, Sua- 
bian Costumes, ete.—Miiller, 75. 
BRAUSEWETTER, OTTO, born at Saal- 
feld, Prussia, in 1885. History and genre 
painter; pupil of K®onigsberg Academy ; 
travelled in Germany, North Italy, and Rus- 
sia. Works: Richard IL. (1860), Dantzic 
Museum ; Charon’s Bark (1867) ; Ladies at 
a Sculptor’s (1868), Kénigsbere Museum ; 
Marauders, Bluebeard (1871); After a Long 
Separation (1872); Autumn Morning (1874); 
Gustavus Adolphus before Battle of Liitzen 
(1876) ; Lansquenets Travelling (1877) ; 
Home Again (1878).—Miller, 75. 
BRAUWER. See Brouwer. 
BRAY, JAN DE, born at Haarlem, died 
there, buried Dec. 4, 1697. Dutch school ; 


198 


ENGR SaicRR. “wea Ope rn aoe. ‘Guile 


BRAZACCO 


_history and portrait painter ; showed influ- 
ence of Frans Hals, and later of Rembrandt. 
Works: Four portraits in a Group of Syndics 
of St. Luke’s Guild (1675), National Gallery, 
Amsterdam ; Initiation of Orphans (1663), 
Regents of Orphanage (1663, 1664), Regents 
of Leper-house (2, 1667), Christ blessing 
the Children, Seleucus (1676), Glorification 
of Frederic Henry (1681), Vulcan (1683), 
Dutch Family, Haarlem Museum ; David 
with the Harp (1674), Brunswick Museum ; 
David with Head of Goliath, Copenhagen 
Gallery ; Portrait of Himself and Family, 
Hampton Court Palace.—Bode, Studien, 
109 ; Riegel, Beitrage, ii. 305 ; Van der Wil- 
ligen, 96. 

BRAZACCO. See Bazacco. 

BRAZEN SERPENT, Michelangelo, Sis- 
tine Chapel, Rome ; fresco in corner soffit of 
ceiling. Illustration of Numbers xxi. 6-8. 

By Rubens, National Gallery, London ; 
canvas, H. 6 ft. 2 in. x 8 ft. 9 in. Moses and 
Aaron standing to right, the latter pointing 
to an elevated serpent, towards which many 
of the Israelites, suffering from the stings 
of venomous reptiles, are turning for relief. 
Engraved by Bolswert and Galle. Formerly 
in Palazzo Marano, Italy ; Collection of A. 
Wilson (1807), £1200 ; Collection of Wm. 
Champion (1810), £1000; belonged to T. 
B. Owen, who sold it to National Gallery 
-(1837) for £3000. Duplicates, partly by pu- 
pils, in Madrid Museum and Potsdam Gal- 
lery. Sketch in black and white, Louvre.— 
Smith, ii. 216 ; Cat. Nat. Gal. 

BREA, LODOVICO, born at Nice about 
1450 (2), died after 1513. Neapolitan school. 
Works, chiefly in churches in Genoa, signed 
and dated from 1483 to 1513. An Annunci- 
ation, etc., attributed to Justus of Ghent, in 
three compartments, in the Louvre, may be 
by him. Brea shows Flemish influences, 
and was perhaps taught by Corrado d’Ale- 
mania, or by Justus of Ghent, who painted 
at Genoa at 1451. Soprani mentions an As- 
cension of Christ in S.M. della Consolazione 
at Genoa, painted for Petrus de’ Fazi in 

-1483.—C. & C., Flemish Painters, 176 ; Ch. 


Blane, Ecole génoise ; Lanzi, iii. 235 ; So. 
prani, 12. 

BREDA, CARL FREDRIK VON, born 
in Stockholm in 1759, died in 1818. Por- 
trait painter, pupil in London of Reynolds. 
Became painter to the Swedish court and 
was called the Van Dyck of Sweden. His 
son, Johan Fredrik (born in London in 
1788, died in Stockholm in 1835), was also 
a painter. 

BREDA, SURRENDER OF. See Lan- 
zas. 

BREDAEL (Breda), JAN FRANS VAN, 
born in Antwerp, March 19, 1683, died 
there, Feb. 19, 1750. Landscape painter ; 
grandson of Peeter van B., son and pupil 
of Alexander van B., landscape and genre 
painter (died 1720). He copied success- 
fully paintings of Jan Brueghel and Philip 
Wouverman,and later executed original pict- 
ures in their style. Entered guild of St. 
Luke at Antwerp in 1680; master, 1689. 
Went to London with Rysbraek, the sculp- 
tor, and after his return (1725) became di- 
rector of the Academy of Antwerp. Works: 
Military Camp, Louvre; Horse-Shoeing, Fal- 
con Hunt, Dresden Gallery ; Village View, 


EER 


Amsterdam Museum.—Biog. nat. de Bel- 
gique, ii. 918; Ch. Blane, Ecole flamande. 

BREDAEL, JAN PEETER VAN, born at 
Antwerp about 1654, died in Vienna about 
1733. Flemish school ; landscape and battle 
painter, son and pupil of Peeter van. B.; mas- 
ter of the guild in 1680. Employed by 
Prince Eugene of Savoy, and by the Emperor 
Leopold I, who called him to his court. 
Works: Battle of Peterwardein in 1716, 
Battle of Belgrade in 171%, Falcon Chase, 
Boar Hunt (1717), Vienna Museum.——Biog. 
nat. de Belgique, ii. 917. 

BREDAEL, PEETER VAN, born in Ant- 
werp in 1630, died in 1719. Flemish school; 
painter of landscapes with figures, in the 
manner of Jan Brueghel. Entered the Ant- 


199 


BREDAL 


werp guild in 1650, lived some years at the| Orange visiting the Inundated in 1825, Na- 


Spanish court. 


Works: Two Italian Land-| tional Museum, Amsterdam; Portrait of 


scapes, Bruges Academy; Landscape, Hague | William IL, Brussels Museum; Portrait of 


Museum.— Biog. nat. de Belgique, ii. 914; 
De Stuers, 211. 

BREDAL, NIELS ANDREAS, born in 
Copenhagen, June 22, 1841. Architecture 
and landscape painter ; pupil of Copenhagen 
Academy; visited Norway in 1868, Germany 
and Rome in 1869, then lived in Italy 1871- 
77. Works: Portal of St. Frederic, Copen- 
hagen (1865) ; Street in Christianshavn 
(1867); Street in Bergen, Gate of Frederik- 
berg Fortress (1869); Mountain Lake in 
Norway, Autumn Landscape (1869); Ascent 
to Ruins of Imperial Palace in Rome (1875); 
Court-Yard of the Lateran (1876); S.Giorgio 
in Velabro, Rome (1880); View of Villa d’Este 
{1881).—Sigurd Miller, 51. 

BREE, MATTHEUS IGNATIUS VAN, 


are bornin Antwerp, 
Aye Feb. 22, 1773, 
We . WY died there, Dec. 


15, 1839. Flem- 
ish school ; his- 
tory painter, pu- 
pil at the Ant- 
werp Academy 
of Regemorter, 
then in Paris of 
Vincent; ob- 
tained in 1797 the prix de Rome, and studied 
there until 1804. After his return he became 
professor at the Antwerp Academy, and in 
1827 its director. Member of the Academies 
of Amsterdam, Rome, Munich, and New 
York. Works: Patriotism of Burgomaster 
van der Werfft, City Hall, Leyden ; Prince 
of Orange and the League, Ghent Museum; 


Mary ies n (73 Lee ' 
1826 

Entry of Bonaparte into Antwerp, Versailles 
Museum ; Death of Rubens (1827), Antwerp 


Museum ; Pest Scene in Louvain, Ugolino 
and his Sons ; Death of Egmont, Prince of 


’ ZO 2s 
\ 
A\ 
Ne 


we.) 
SEE I =~ 


Pius VII., Vatican, Rome. — Biog. nat. de 
Belgique, ii. 929; Cat. du Musée d’Anvers 
(1874), 416 ; Rooses (Reber), 458. 

BREE, PHILIPPUS JACOBUS VAN, 
born in Antwerp, Jan. 6, 1786, died in Brus- 
sels, Feb. 16,1871. History painter; brother 
and pupil of Mattheus van. B.; studied in 


Paris under Girodet, and in Pavia; visited 


Germany and England. Was conservator 
of the museum at Brussels. Works : Queen 
Blanca, Study of the Flower Painter Dael, 


Barentz on Nova Zembla, Discovery of New’ 


Holland, Godfrey de Bouillon at Jerusalem, 
Mary Stuart, Abdication of Charles V., Ant- 
werp Museum ; Procession in Rome, Sixtus 
VY. as Swineherd, Brussels Museum. 
BREENBERGH  (Breenborch), BAR- 
THOLOMEUS, 
born at Deventer, 
in 1599 or 1600, 
died in Rome in 
1663. Dutch 
school; painted 
historical and 
mythological sub- 
jects, but is espec- 
ially distinguished 
by his small land- 
scapes. Supposed pupil of Poelenburg; 
went early to Italy, where and in France he 
is knownas Bartolomé. He had two styles: 
the first sombre, in which he sought to imi- 
tate Titian and the Carracci, the second more 
clear and transparent. Works: Repose in 
Egypt, Martyrdom of St. Stephen, four views 
in Rome, Louvre ; Monk praying in a Cave, 
Old Pinakothek, Munich; Landscape with 
Ruins, Vienna Museum; Joseph selling Bread 
during the Famine in Egypt (1644), Dres- 


Bp 64e Bs Be, 


den Gallery ; Elijah’s Offering (1645), Ital. 
ian Landscape, Copenhagen Gallery ; Land- 


200 


meng a 7: oe 


ee Kine a cold 


} 
& 
* 
s 
& 
2 
; 
ra 
7 
he 
a 
é 


BREITBACH 


scape with Figures (by Poelenburg), Schwer- 
in Gallery ; do. and Landscape with Ruins 
(1636), View of Tivoli, Hermitage, St. Peters- 
burg.—Bode, Studien, 335 ; Havard, A. & 
A. holl., iv. 69. 

BREITBACH, KARL, born in Berlin in 
1833. Landscape and genre painter ; pupil 
of the Berlin Academy, and in Paris of 
Couture ; travelled in Germany, France, and 
England. Painted at first only landscapes ; 
later, genre scenes and successful portraits. 
Works: Mill of St. Quen, near Paris ; Park 
of Trianon ; Huntsman on Stand; Rest at 
the Chase ; Whestphalian Church ; Noonday 
Prayers ; Kirmess-Joy ; Kirmess-Woe ; Vil- 
lage Parade; Portrait of the Painter Th. 
Weber; do. of Intendant General von Hiil- 
sen, At the Fortune-Teller’s, Female Head, 
Male Head, Man’s Portrait (1883).—Miiler, 
75. 

BREKELENKAM (Breklinkam), QUI- 
RYN, born at Swammerdam, near Leyden, 
died at Leyden in 1668. Dutch school; 
genre painter, probably pupil of Gerard Dou, 
though his works recall both Metsu and Adri- 
anvan Ostade. Master of the guild at Leyden 
in 1648. Painted solid, strong, and naive fig- 
ures in warm and harmonious colour. Works: 
Woman feeding her Child, Tailor’s Shop 
(1661); Interior, The Fireside (1664), A 
Mouse-Trap (1668), National Gallery, Am- 
sterdam ; Monk writing, Consultation, Lou- 
vre; Interior (1662), Lille Museum; Old 
Couple, The Sandwich, Interior, Leyden Mu- 
seum; Saying Grace, Cassel Gallery; Old 
Man with Fish, Old Woman with Vegeta- 
‘bles, Woman feeding little Girl, Game of 
Cards (1662), Brunswick Museum; A Brazier 
(1654), Augsburg Gallery ; A Baptism, Dres- 
den Gallery ; Vegetable Vender (1661), Ber- 


Cp? rek elomkarrr 
1066 3 
lin Museum; Hermit (1660), Disappointed 


Drinker, Hermitage, St. Petersburg.—Chro- 
nique des Arts (1878), 69, 75; Havard, A. 


& A. holl., iv. 91; Wedmore, Masters of 
Genre Painting, 146. 

BREMOND, JEAN FRANCOIS, born in 
Paris in 1807, died March 2, 1868. Genre 
and portrait painter; pupil of A. Couder 
and of Ingres. Medal of the second class 
in 1833 and in 1863. Principal works: 
Christ (1827); Scene of July Revolution 
(1830); Miseries of War (1833); Francis L 
visiting Benvenuto Cellini (1834), Narbonne 
Museum ; Death of the Virgin (1837); Char- 
ity (1838); Church of St. Peter in Carcas- 
sonne ; St. Francis of Assisi (1839) ; Archi- 
tecture, Painting, and Sculpture (1842), a 
fresco ; Leda (1845); Susanna at the Bath 
(1847); Presentiment of the Passion (1848); 
Death of Bailly, Muse of André Chenier 
(1849); Cartoons for frieze in church of Vil- 
letta, Raising of Lazarus, Christ healing the 
Blind Man in Jericho, Sermon on Mount 
(1850); Descent from Cross (1852); Victo- 
rious Love (1853); Bohemian, Flight into 
Egypt (1859); Revery (1861); Slavery and 
Liberty, Caen Museum; The Butterfly 
(1864) ; Theological Virtues, Cardinal Vir- 
tues (1866), St. Lambert, Vaugirard.—La- 
rousse. 

BRENDEL, (HEINRICH) ALBERT, 
born in Berlin, June 7, 1827, died in 1878. 
Animal painter; pupil of Berlin Academy, 
under W. Krause, then in Paris of Couture 
and Palizzi; visited Italy in 1852, and studied. 
in Berlin under Steffeck. Lived in Paris in 
1854-64, and at Barbison in the forest of Fon- 
tainebleau in summers of 1864-69. Became 
member of the Berlin Academy in 1868, 
and professor at the Weimar Art School in 
1875. Medals: Paris, 1857-59-61 ; Berlin, 
1861; Nantes, 1861; Munich, 1869; Vi- 
enna, 1873. Works: Interior of Sheep 
Stable, Hamburg Gallery ; Horse Stable at 
Barbison, Normandy Horses, Peasant’s 
Farm, Sheep leaving Stable, Return of 
Sheep to the Village, National Gallery, Ber- 
lin; Don Quixote’s Sheep, Pasture in Hol- 
land.—Miiller, 76. 

BRENDSTRUP, THORALD, born at 
Fjenneslev, Jutland, May 25, 1812. Land- 


201 


BRENNER 


scape painter ; pupil of Copenhagen Acad- 
emy; visited Portugal in 1839, Rome in 
1847-50 and 1857-61. Member of Copen- 
hagen Academy, and Order of Danebrog 
in 1874. Works: View on Ise Fjord 
(1835); Views near Frederiksvaerk and Ros- 
kilde, do. on Coast of Oresund ; Landscapes 
on Duero River; do. on the Rhine; Views 
in Switzerland ; Temple of Vesta at Tivoli 
(1851); Villa Poniatowsky outside Porta 
del Popolo; Italian Landscapes; Views in 
Denmark.—Sigurd Miller, 53; Weilbach, 


81. 

BRENNER, ADAM, born in Vienna, 
Dec. 21, 1800. German school; history 
painter ; pupil of Vienna Academy ; painted 


at first still-lfe and genre; studied in Mu- 
‘nich about 1844, after the great modern 
masters of Germany. Works: Tinker fright- 
ening Child, Dead Game (1833), Burial of 
St. Stephen (1835), Vienna Museum ; Res- 
cue of Ferdinand II. by the Dampierre 
Cuirassiers ; Raising of Siege of Belgrade.— 
Wiirzbach, 1. 132. 

BRESCIA, ALTARPIECE OF, Titian, 
SS. Nazaro e Celso, Brescia ; wood, five pan- 
els, figures life-size; signed and dated 
1522. Middle panel, the Resurrection; at 
sides, St. Sebastian, Averoldo with patron 
saints, and the Annunciation in two panels. 
The St. Sebastian is best preserved ; other 
panels injured by repainting. Painted for 
the Papal Legate Altobello Averoldo, and 
placed on the high altar of SS. Nazaro e 
Celso, but now between two windows of the 
choir.—C. & C., Titian, i. 236, 247; Burck- 
hardt, 717 ; Ch. Blane, Ecole vénitienne. 

BRESSANO, VINCENZO. See Civer- 
chio, Vincenzo. 

BREST, GERMAIN FABIUS, born in 
Marseilles, July 31, 1823. Landscape and 
architecture painter; pupil of Loubon and of 
Troyon ; has travelled extensively in Turkey 
and Asia. Works: Turkish Coffee-House 
in Constantinople (1857); Walls of Constan- 
tinople (1857); Banks of the Bosporus 
(1861), Luxembourg Museum ; Caravansary 
in Trapezunt (1864); Ceremony of Kissing 


the Hand in Constantinople, Grand Canal 
in Venice (1866); Ponte Rialto in Venice, 
Interior of Pastry-Bakery (1867); Fisheries 
on the Bosporus (1868); Mosque in Trape- 
zunt (1870); Khan of the Sultana Valide at 
Constantinople (1872); Bridge of Sighs 
(1874) ; St. John’s Church at Beauvais (1877); 
Entrance to the Bosporus, The Platane of 
Godfrey de Bouillon (1878).—Miiller, 76; 
Vapereau (1880), 299. 

BRETON, 
Courriéres ; con- 
temporary. Land- 
scape painter; 


pil of Jules Bré- 
ton. Medals: 
1866, 1867, 1868; 
Ist class (1878); 
Philadelphia 
(1876); Vienna 
_ (1873); L. of Hon- 
Order of Levecue Studio 

Works: Morning Light, 


our (1878) ; 

at Courriéres. 
Sunset, Autumn (1861); Twilight in Au- 
tumn, Gust of Wind (1863); Summer Even- 


ing, Twilight (1865); A Pond (1866); 
Spring, Snow (1868); Sunset, Entrance of a 
Village (1869); Night, Brook of Orchiman 
(1870); Winter Morning, Winter Evening 
(1872); Sunset after Storm, Sunday Morn- 
ing in Winter (1873); Autumn, Twilight, 
Winter’s Night (1874); Courriéres Canal, 
Artois Village in Winter, Shepherd’s Star 
(1875); Winter, Marine View (1876); Summer 
Morning (1877); Winter, A Church (1879); 
Sunset at Sea before Storm, Snow in Artois 
(1880); The old Willows, Frost in Artois 
(1881); Summer Evening, Winter Evening 
(1882); Moonlight in Winter, Sunset in Au- 
tumn (1883); Mill—Artois (1884) ; Fall of the 
Leaves, Evening after the Tempest (1885). 
Works in the United States: Village of Ar- 
tois in Winter, Snow Scene in Holland, 
C. Crocker, San Francisco ; Moonlight after 
Rain, J. G. Fell, Philadelphia ; Stream be- 
tween the Hills, H. R. Bishop, New York.— 
Vapereau (1880), 300. 


202 


EMILE ADELARD, born at 


brother and pu-_ 


— . 
7 


EET Neto gape Bh 


2 


BRETON 


BRETON, JULES ADOLPHE, born at: 


Courritres (Pas-de-Calais), May 1, 1827. 
Genre painter ; pu- 
pil of Drélling and 
Dévigne, whose 
daughter he mar- 
ried; one of the 
best French paint- 
ers of village and 
country life. Med- 
als: 3d class, 1855 ; 
2d class, 1857; 1st 
class, 1859, 1861, 
1867 ; medal of honour, 1872 ; L. of Honour, 
1861; Officer, 1867. Works: Misery and 
Despair (1849); Harvesters’ Return (1853); 
The Gleaners, I. Pereire ; The Day after St. 
Sebastian, Little Peasant Girls telling Fort- 
unes (1855); Planting a Cemetery, Lille 
Museum ; Blessing the Harvest (1857), Re- 
call of the Gleaners (1859), Evening (1861), 
The Gleaner (1877), Luxembourg Museum ; 
The Fire, Weed Gatherers (1861), Comte 
Duchatel ; Consecration of the Church of 
Oignies, M. de Clerg ; Haymaker, Return- 
ing from Fields (1863); Vintage at Chateau 
Lagrange, Comte Duchatel; Reading, Tur- 
key Keeper (1864); End of the Day, Blue 
Monday, Recall of the Gleaners (1865); 
Spring of Water near the Sea, Harvest-Time 
(1867); Women gathering Potatoes, Helio- 
trope (1868); Plenary Indulgence in Brit- 
tany, Bad Grass (1869); Breton Washer- 
women, Woman Spinning (1870); Girl 
tending Cows, The Fountain (1872); The 
Cliff, When the Cat’s away the Mice will 
play (1874); St. John (1875); Village Girl 
(1879); Evening (1880); Artois Woman 
(1881); Evening at Finistére (1882); The 
Rainbow, Morning (1883); Communicants 
(1884); Last Ray, Song of the Lark (1885). 
Works in the United States: Peasant Girl 
Knitting, Grand Pardon in Brittany, Miss 
GC. L. Wolfe, New York; Gleaner, Samuel 
Hawk Collection, New York; Harvest, W. 
Rockefeller, New York; Lookout, R. C. 
Taft, Providence ; Fleur de Sable, J. Carey 
Coale, Baltimore; Gleaners, H. Probasco, 


Cincinnati; Tired Gleaner, Hurlbut Collec- 
tion, Cleveland; Sea Bird, D. Catlin, St. 
Louis ; Burning Brushwood, Little Glean- 
er’s Rest, Mrs. W. P. Wilstach, Philadel- 
phia ; Departure for the Fields, G. Whitney, 
Philadelphia ; Evening, A. Spencer, New 
York ; Breton Washerwomen at the Sea- 
shore, E. D. Morgan Collection, New York ; 
Gathering Water-Lilies, Peasant Woman, 
J. T. Martin, Brooklyn ; Tired Gleaner, CO. 
S. Smith, New York ; Overdrawn Score, J. 
Hoey, New York ; Close of the Day, Sunny 
Day, Repose, W. T. Walters, Baltimore ; 
Potato Harvest, H. C. Gibson, Philadelphia ; 
Brittany Woman, Rainbow, W. H. Vander- 


Jabs Bralery Gounnisns 


bilt, New York ; Reaper’s Rest, Wm. Astor, 
New York.—Larousse ; Meyer, Gesch., 642 ; 
Portfolio (1875), 2. 

BRETT, JOHN, born in England ; con- 
temporary. Landscape and marine painter ; 
studio at Putney. Elected an A.R.A. in 
1881. Works: Spires of Channel Islands 
(1875); Sir Thomas’s Tower (1876); Cornish 
Lions (1877); Carnarvon Bay (1878); 
Stronghold of the Seison (1879) ; Britan- 
nia’s Realm, Sandy Shallows of Seashore 
(1880); St. Ives Bay, Golden Prospects— 
St. Catherine’s Well (1881); Falling Barom- 
eter, Grey of the Morning (1882); Yellow 
Sands, Welsh Dragons (1883); Norman 
Archipelago (1885).—Art Journal (1882), 57. 

BREU (Brew, Prew), JORG (Georg), died 
in Augsburg, 1536. German school ; prob- 
ably pupil of Hans Burgkmair, whose 
style his pictures recall, as well as that of 
Altdorfer. The anatomi- ° 
cal treatment of his figures | J 12 
is defective, but his land- — - 
scape backgrounds are re- sw 
markable. Works: Ma- 
donna, Berlin Museum 
(1512); Battle of Zama, Old Pinakothek, 
Munich; Madonna (1523), Ambras Collec- 


203 


BREUGHEL 


tion, Vienna; Adoration of the Magi, Hos- 
pital church, Coblentz.—Kunst-Chronik, x. 
388; W. & W., i. 452. 

BREUGHEL. See Brueghel. 

BREVOORT, JAMES RENWICK, born 
in Westchester County, N. Y., July 20, 
1832. Landscape painter; pupil of Thomas 
Cummings. Visited Europe in 1873, spend- 
ing seven years abroad, chiefly in Florence; 
has sketched at different times in Switzer- 
land, Holland, England, the Abruzzi moun- 
tains, and about the Italian lakes. Elected 
an A.N.A. in 1861, and N.A. in 1863; pro- 
fessor of perspective at National Academy, 
1872. Studioin New York. Works: Scene 
in Holland—near Arnheim, Lake of Como— 
near Varenna (1878); Storm on English 
Moor (1882); May Morning—Lake of Como 
(1883); New England Scene, Morning in 
Early Winter (1884). 

BREYDEL, KAREL, called the Cheva- 
lier, born in Antwerp in 1677, died in 
Ghent, Nov. 4, 1744. Flemish school; 
painter of scenes from military life, in imi- 
tation of Van der Meulen, and views of the 
Rhine in the manner of Jan Griffier ; pupil 
of Peeter Ykens, but really formed himself 
in Holland and Germany. He led a very 
erratic life, leaving his wife in Antwerp 
vainly expecting his return. Works: Com- 
bat of Horsemen, Aremberg Gallery, Brus- 
sels; Two Cavalry Skirmishes, Brussels 
Museum; Landscape (2), Cassel Gallery. 
His brother, Frans (1679-1750), was court 
painter at Cassel, and lived for some time 
in London.—Biog. nat. de Belgique, iii. 37; 
Michiels, x. 518. 

BRICHER, ALFRED THOMPSON, 
born in Portsmouth, New Hampshire, 
April 10, 1839. Landscape and marine 
painter; self-taught. Began to paint in 
1858; sent first picture to National Acad- 
emy in 1868. Elected A.N.A. in 1879, 
Studio in New York. Works in oil: Mill 
Stream at Newburyport (1868); Ironbound 
Island—Coast of Maine; Baby is King, Day 
Dreams, Last of Flying Cloud (1880); En- 
gagement Ring, Castle Rock—Marblehead 


(1881); At Curzon’s Mills—Newburyport 
(1882); In my Neighbour’s Garden (1883). 
Works in water-colour: Indian Summer’s 
Sunset (1869); Maiden’s Rock—Lake Pepin 
(1870); Mt. Adams (1871); On the Winding 
Ksopus, Time and Tide (1874); Spring 
Morning (1875); Foggy Morning—Grand 
Menan (1876); St. Michael’s Mount (1877); 
In a Tide Harbour (1878).—Art Journal 
(1877), 174; Sheldon, 144. . 


BRIDE OF LAMMERMOOR, John 


Everett Millais, Wm. H. Vanderbilt, New 
York. Lucy Ashton, recovered from her 
swoon, but not yet from her bewilderment 


and terror, clings helplessly, yet trustingly, 


to the arm of the Master of Ravenswood, 
whose dark and piercing glance indicates 
the approach of Sir William Ashton, who is 
not seen; background a rocky recess, re- 
lieved by the sparkle of a tiny burn and by a 
growth of ferns and wild-flowers. Painted in 
1878. Engraved by J. O. Barlow.—Builder 
(1878), 449 ; Art Journal (1878), 143. 

BRIDGES, FIDELIA, born in Salem, 
Mass.; contemporary. Landscape and flow- 
er painter; pupil of W. T. Richards, in 
Philadelphia ; also studied a year abroad. 
Elected an A.N.A. in 1874. Works in oil: 
Wild Flowers in Wheat (1869); Views on 
the Ausable (1870); Thistles and Yellow- 
Birds (1873); Salt Marshes (1874); Edge of 
Rye Field (1875); Old Grave (1876); Rob- 
in’s Bath (1877); Daisies; Banks of an English 
Stream, Old Boat’s Last Mooring (1881). 
Water-colours: Pickerel Weed (1871); Lily 
Pond (1874); Mouth of River (1875); By 
the Sea, Flock of Snow Birds, Kingfisher 
and Catkins (1876); Kingbird on the Look- 
out (1878). 

BRIDGMAN, FREDERICK ARTHUR, 
born at Tuskegee, Ala.,in 1847. Genre paint- 
er; pupil of Brooklyn Art Association, and 
in 1866 of L. Géréme, in Paris. In 1870-72 
he sketched in the Pyrenees, and in 1873-4 
in Algiers, Egypt, and Nubia. Medals: 
Paris, 3d class, 1877; 2d class and L. of 
Honour, 1878. Elected N.A. in 1881. Stu- 
dio in Paris. Works: Apollo bearing off 


204 


aetlqain RO Pee Se pss 


7 ig eS eat a 


4 
rf 
Y 

a 

& 
& 
ky 
- 
3 
b 
bg 
2 
5 


Pare t< 


é 


BRIELMAN 


Cyrene, Interior of a Harem (1875); Moor- 
ish Interior, Donkey Boy of Cairo, Chapel 
in Brittany— 
Noon, Nubian 
Story-Teller 
(1876); Funeral 
of a Mummy 
(eit), 3. G. 
Bennett, New ° 
York; Market 
Scene in Nubia, 
Kybelian Wo- 
man (1878); Al- 
meh, R. G. Dun, N. Y.; Waiting for Orders 
—Souvenir of Constantine, Algeria (1881); 
Interior of Biskra House—Algeria, R. H. 
Keene, New York; Eastern Lady (1882), La 
: Cigale, Af- 
I /\ Bridgman ternoon 
‘883 Hours, At 
the Window—Cairo (1883) ; Caid’s Escort 
at Rest (1884), Thos. B. Clarke, New York; 
Family Bath at Cairo, My Last Price (1884); 
Summer on the Bosporus (1885).—Sheldon, 
150. 

BRIELMAN, JACQUES ALFRED, born 
in Paris; contemporary. Landscape painter; 
pupil of Lavieille. Medal, 3d class, 1882. 
Works: Old Trees of Drevant (1881); Even- 
ing in the Cévennes (1882); Oaks in Forest 
of Troncuis, Chateau de la Mothe at Margais 
(1883), Th. Regnault ; Falling Rain (1884); 
Le Champ-Rouge at Meaulne (1885). 

BRIGGS, HENRY PERRONET, born 
at Walworth in 1792, died in London, Jan. 
18, 1844. Began his art studies in 1811 at 
the Royal Academy, where he exhibited 
a portrait in 1814; was for nearly twenty 
years an exhibitor of historical works, but 
during the latter part of his life his pict- 
ures were chiefly portraits. He became an 
A.R.A. in 1825, and RA. in 1832. His 
First Conference between the Spaniards 
and the Peruvians in 1531, and his Juliet 
and the Nurse, are in the National Gal- 
lery, London.—Redgrave ; F. de Conches, 
417; Art Union, March, 1844 ; Sandby, ii. 
146. 


BRILL (Brill), MATTHEUS, born in Ant- 
werp in 1550, died in Rome in 1584. Flem- 
ish school. Went when young to Rome, and 
was employed by Gregory XIII. to execute 
works in the Vatican, chiefly landscapes in 
oil and in fresco. Works: Stag Hunt (2), 
Louvre ; Tobias and his Wife, Boar Hunt, 
Dresden Gallery ; Italian Landscape, Bruns- 
wick Museum ; Landscape with Shepherds, 
Ambras Collection, Vienna; Hunting Scene, 


- | Naples Museum.—Biog. nat. de Belgique, iii. 


55; Fétis, Les Artistes belges 4 létranger, 
i. 143. 

BRIL, PAUWEL, born in Antwerp im 
1554, died in 
Rome, Oct. 7, 
1626. Flem- 
ish school; 
brother of Mat- 
theus Bril, 
whose success 
in Rome at- 
tracted him 
thither, and 
whom he suc- 
ceeded in the 
Vatican. Pupil of Damien Oortelman, then 
in Rome of his brother; painted principally 
landscapes, but also executed figures well. 
He left many works in oil and fresco, and ex- 
ercised great influence upon Rubens, Anni- 
bale Carracci, and Claude Lorrain, becoming 
thereby most important for the development 
of landscape art. Works: Landscapes with 
Figures (4), Madrid Museum ; Duck Hunt, 
Diana and Nymphs, Fishermen (1624), Pan 
and Syrinx, St. Jerome in Prayer (1609), 
three other Landscapes (1617, 1620), Lou- 
vre, Paris ; Prodigal Son, Antwerp Museum; 
Ruins with Figures, National Museum, 
Amsterdam ; Landscapes with Roman Ruins 
(2), Brunswick Museum ; Hilly Landscape 
with Castle, Darmstadt Museum; Christ 
healing the Possessed (1601), Landscape by 
Seashore, Old Pinakothek, Munich ; Land- 
scapes (9, four dated 1600, 1608, 1624, 
1626), Dresden Gallery ; do. (4), Berlin Mu- 
seum; do. (2), Hermitage, St. Petersburg ; 


205 


BRILLOUIN 


do. (1), Peterhof; St. Paul in the Desert, 
Boar Hunt, Triumph of Psyche, and others, 
Uffizi, Florence; Christ on Calvary, Diana 
and Callisto, three oth- 

ers, Palazzo Doria, 
Rome; Baptism of 

Christ, St. Cecilia, Na- 

Fy BR ] iis ples Museum. Others 
in Milan, Mentz, and 

P AVO L Stockholm.—Biog. nat. 
de Belgique, iii. 56 ; Ch. 

B RI Lo Be | Blane, Ecole flamande ; 

Fétis, Les Artistes 
belges & Vétranger, i. 148; Michiels, vi. 
156; Rooses (Reber), 117. 

BRILLOUIN, LOUIS GEORGES, born 
at St. Jean d’Angely, April 22, 1817. Fig- 
ure painter ; pupil of Drdélling, and of Cabat. 
Medals in 1865, 1869, and 1874. Works: 
Rubens’ Studio, Characters from Victor 
Hugo’s Poems (1847); Sermon in Provence, 
Visit of the Amateurs, Profession of Arms 
(1857); Rembrandt in his Studio, Messire 
Josué’s Pew in Church, Amateurs visiting, 
Page amusing Himself (1859); Artist in 
Camp, W. H. Vanderbilt, New York ; Musi- 
cal Party (1861); Medicine, Meditation, 
Backgammon (1863); Playing Games, The 
Huntsman (1865); The Outpost, Officers 
making a Reconnoissance,. The Gazette, 
The Host’s Portrait, The Patrol (1867) ; 
Lantara’s Quota, Callot in his Youth (1868); 
Letter of Recommendation, Book Peddler, 
Bibliomaniac, Man-at-Arms (1869); The 
Prince’s Education, The Equipment (1870); 
Rural Scene, A Captain (1872); Gossip 
(1873); George Dandin’s Wedding, Lindor 
Moor and the Marsh (1874); Old Papers, 
Old Pipe, Mandolinata (1875); Profession of 
the Younger Son, Antechamber (1876) ; 
Hunting for Recruits, Bouquet to Chloe 
(1877); Morning on the Meadows, Storm 
and Rain in the Marshes (1879); Peasants 
Resting, Singing Songs (1880); Family 
of a Condemned Man waiting for last Fare- 
well (1881); Woods of Bourboule, Even- 
ing on the Plain of Saintonge (1882); His 
Highness in the Trenches, The Commune 


of Piépouzin (1883).— Vapereau (1880), 
305. 
BRION, GUSTAVE, born at Rothau, Al- 


sace, Oct. 24, 
1824, died in 
Paris, Nov. 4, 
1877. Genre 


painter, pupil 
of Gabriel Guér- 


Painted Alsatian 
life with much 
success. Med- 
als: 2d class, 


Ist class, 18638; medal of honour, 1868; 
L. of Honour, 1863; Order of Leopold of 
Belgium. Works: Alsatian Interior (1847); 
Tow-Path (1852); Wood Cutters of the Black 
Forest, Potato Crop in Alsace; Alsatians 
Threshing (1853); Bretons at the Door of a 
Church during Mass, Funeral on the Rhine 
(1859); Siege of a Town by the Romans, Al- 
satian Wedding, Wedding Feast, Battery of 
Military Machines (1861), bought by Emper- 
or; Jesus walking on the Sea; Pilgrims of 
St. Odile (1863), Luxembourg Museum; End 
of the Deluge, Wolf-Hunting in Spain (1864); 
The King’s Day (1865) ; Reading the Bible 
(1867); Funeral in Venice (1868); Dance of 
the Cock (1872); Alsatian Wedding (1874); 
Day of Baptism (1875); First Steps (1876); 
Awakening the Pilgrims to Saint Odile (1877). 
Works in United States: Alsatian Christen- 
ing, Leaving Church, Miss C. L. Wolfe, New 
York; Bouquet, R. C. Taft, Providence; Brit- 
tany Peasants at Prayer, J. W. Garrett, Balti- 
more; Alsatian Peasant Girl, J. Carey Coale, 
Baltimore ; Invasion, C. Parson, St. Louis ; 
Marriage in Alsace, Alex. . 
Brown, Philadelphia ; Char- B 1 6) Nn 
coal Furnace, R. L. Stuart, 
New York; Decking the Vil- 4 
lage Crucifix, J. Hoey, New 
York ; do., Israel Corse, New York.— Meyer, 
Gesch., 702 ; Montrosier, Artistes modernes. 
BRISPOT, HENRI, born at Beauvais ; 
contemporary. Genre and portrait painter, 


206 


in in Strasburg. — 


1853-59-61-67; | 


tev 


BRISSET 


pupil of Bonnat. Medal, 3d class, 1885. 
Works: In the Country (1881) ; La Greve 
des Forgerons (1882); Churchwarden’s Pew 
(1883); Baptismal Feast, Portrait of Cormon 
(1884); Burial of a Farmer in Picardy (1885). 

BRISSET, PIERRE NICOLAS, born in 
Paris, Aug. 18, 1810. History and genre 
painter; pupil of Picot, and of the Ecole 
des Beaux Arts. Won the grand prix de 
Rome in 1840. Medals, 2d class, 1847, 1855; 
L. of Honour, 1868. Works: Death of Pri- 
am (1840); St. Laurence showing the Treas- 
ures of the Church (1846); St. Sebastian 
(1855), ordered by State ; Fishermen enter- 
ing a Church (1865); Such is the Way to 
Heaven (1868); Two Sisters of Charity (1876). 
Has executed works in St. Vincent de Paul, 
Paris, and other churches.—Vapereau (1880), 
306. 

BRISSOT DE WARVILLE, FELIX SA- 
TURNIN, born at Sens (Yonne); contempo- 
rary. Animal painter, pupil of L. Cogniet. 
Medal, 2d class, 1882. Works: In the Plain, 
The Thicket (1881); Sheep in Meadow (1882); 
Flock of Sheep, Leaving the Park (1883); 
Sheep at Rest, The Return (1884); Interior 
of Sheepfold, Return of the Flock (1885). 

BRISTOL, JOHN BUNYAN, born at 
Hillsdale, New York, March 14, 1826. Land- 
scape painter ; pupil at Hudson of Henry 
Ary. In 1859 visited Florida and painted 
from his sketches tropical pictures which 
brought him into notice. Elected an A.N. 
A. in 1861, and N.A. in 1874. Studio in 
New York. Works: View of Mt. Oxford 
(1876, medal of honour, Philadelphia) ; On 
the St. John’s River—Florida; Monument 
Mountains ; Mt. Equinox ; View of Lake 
Champlain from Ferrisburg (1878), pur- 
chased by Directors of Paris Exposition ; As- 
cutney Mountains; Valley of the Housatonic ; 
Delaware River near Port Jervis (1880); Lake 
-Placid—Adirondacks (1881); Near Stock- 
bridge, Mass. (1882); Valley of the Connecti- 
cut, Vermont (1883). 

BRITTEN, W. E. F., born in England ; 
contemporary. Exhibits chiefly at Grosvenor 
Gallery. Works: Music (1879); Dancing 


(1880); Flight of Helen (1881), one of a se- 
ries painted for Wyfold Court, seat of late 
Edward Hermon, M.P.; Che sara sara, Ang- 
lers, An Idyl, Baby Ida (1882) ; Boys and 
Dolphins, decorative frieze executed for Karl 
of Leconfield (18838) ; Idy], Genii of Sport 
(1885). 

BROECK, CRISPIN VAN DEN, born at 
Mechlin in 1530 (?), died in Holland about — 
1601. Flemish school; pupil of Frans Flo- 
ris ; entered the Antwerp guild in 1555, be- 
came a citizen in 1559. Was also an archi- 
tect and engraver on both metal and wood. 
Works: Adoration of the Magi, Vienna Mu- 
seum; Last Judgment (1571), Antwerp Mu- 
seum ; do., Brussels Museum ; Holy Family, 
Madrid Museum.—Cat. du Musée d’Anvers 
(1874), 428 ; Nagler, Mon., ii. 297. 

BROECK (Brock), ELIAS VAN DEN, 
born in Antwerp (?) about 1657, died in Am- 
sterdam in 1711. Dutch school; flower 
painter, pupil of Cornelis de Heem; his pict- 
ures are true to nature and fine in colouring. 
Works: Three pictures of still life, Mu- 
seum, Vienna ; two in Liechtenstein Gallery, 
ib.; Flowers, Rotterdam Museum.—Michiels, 
x. 444. 

BROEDERLAM (Brooderlam), MEL- 
CHIOR, born at Ypres. Flemish school; 
flourished latter part of 14th century, when 
he became painter and valet-de-chambre 
to Philip the Bold, Duke of Burgundy. 
In 1398 he painted Scripture subjects on 
the wings of two shrines sculptured by 
Jacques de la Baerse of Dendermonde, for 
the Carthusian Convent at Dijon, and now in 
the museum of that city. His style has the 
faults of the Westphalian school, tempered 
by the more graceful and tender feeling of 
the school of Cologne.—C. & C., Flemish 
Painters, 19; Biog. nat. de Belgique, 11. 78; 
Michiels, ii. 33. 

BROKEN PITCHER (Cruche cassée), J. 
B. Greuze, Louvre ; canvas, H. 3 ft. Tin. x 2 
ft. 9in. A young girl, in a white dress, with 
a violet ribbon and white flowers in her hair, 
and a gauze fichu which half conceals a 
crushed rose upon her breast, stands holding 


207 


BROMEIS 


flowers in her robe, and bearing on her 
arm a cracked pitcher. Bought at sale of 
Marquis de Verri (1785) for 3000 fr. En- 
graved by Massard; A. Leroy. Study in 
National Gallery, Edinburgh. 


Broken Pitcher, Jean Baptiste Greuze, Louvre. 


BROMEIS, AUGUST, born at Wilhelms- 
hohe, near Cassel, Nov. 28, 18138, died in 
Cassel, Jan. 12, 1881. Landscape painter, 
pupil of the Cassel Academy; studied in 
1831-33 in Munich, then until 1848 in Rome, 
under Jos. Ant. Koch. After his return lived 
in Cassel and Frankfort, and in 1857 moved 
to Diisseldorf, principally for the sake of 
being near A. Achenbach. In 1867 he be- 
came professor at the Cassel Academy. 
Member of Berlin Academy. Works: Twi- 
light (1861), View near Olevano, Two Land- 


scapes from the Habichtswald, View in the |3(~- 


Campagna (1862), Cassel Gallery ; Grave of 
Archimedes, View in Sabine Mountains, 
Moorish Laundry near Palermo, Wood near 
Diisseldorf, Italian Landscape with Calabri- 
an Shepherd (1869), National Gallery, Ber- 
lin; Civitella by Moonlight (1866) ; Capri 
(1874) ; From the Campagna (1879).—Mil- 
ler, 79; Kunst-Chronik, xvi. 296. 


BRONCHORST  (Bronckhorst), JAN 
VAN, born at Utrecht in 1603, died at Am- 
sterdam in April, 1678 (?). Dutch school; 
eenre and landscape painter ; first studied 
elass painting under Jan Verburgh, then at 
Arras under Peter Mathys, and in Paris 
under Chamu ; after his return was induced 
by his friendship with Poelenburg to take 
up oil painting, which he studied by him- 
self. 
playing Guitar (1644), do. with Young Girl ; 
Arcadian Concert, Brunswick Museum ; 
Grotto with bathing Nymphs, Liechtenstein 
Gallery, Vienna; Landscape, Rotterdam . 
Museum.—Immerzeel, i. 104; Kramm, i. 
165 ; Riegel, Beitrage, ii. 185. - 

BRONIKOFF, THEODOR, born at 
Schadrinsk, Siberia, in 1826. History and 
genre painter; pupil of St. Petersburg 
Academy, where in 1853 he received the 
great gold medal; then studied for five 
years in Germany, France, Italy, and the 
East. Studio in Rome. Works: Petus 
and Arria, Pythagoreans greeting Sunrise, 
Horace reading his Satires to Augustus, 
Alcibiades and Aspasia before the Archon, 
The Outcast, Names’ Day, Meeting of the 
Council of Ten in Venice, Christian Doc- 
trine, Peasant Girl of Nemi, A Master in 
Mosaics before the Tribunal of Three in 
Venice (1867).—Miiller, 79. 

BRONZINO, AGNOLO (Angiolo), born 

at Monticelli, 


NN near Florence, 

a in 1502-3, died 
Se sp in Florence, 
ek Nov. 23, 1572. 
wi Florentine 
ane school; real 


: name Agnolo 

XY” or Angiolo di 
Cosimo Allori, 
but commonly 
called Il Bron- 
zino. Pupil of Raffaelino del Garbo and 
later of Jacopo da Pontormo, whom he 
assisted in some of his most considerable 
works. He was a great admirer of Michel- 


OS 
< ag eed 
<I 
Lior 
TF. 
a CaN 


Ss : = 


208 


Works: Assembly with Young Man — 


BROOK 


angelo, and some of his works show his in- 
fluence, though he was not one of his imi- 
tators. He painted both in fresco and in 
oil, and was a decided mannerist in his his- 
torical pictures. His portraits of members 
of the Medici family, his patrons, and of 
many distinguished men of his time, are by 
far his best works and among the finest of 
the 16th century. His largest work is De- 
scent of Christ into Limbo (1552), Uffizi, 
Florence. Among his best pictures are: 
The Engineer, Pitti, Florence ; Lady, Boy 
with a Letter, Young Sculptor, Uffizi, 
Florence; Venus, Cupid, Folly and ‘Time, 
Knight of St. Stephen, Portraits of a 
Lady and of Duke Cosimo L, National 
Gallery, London ; Venus and Cupid, Buda- 
Pesth Gallery; Dead Christ, Florence 
Academy ; Christ appearing to Magdalen, 


BRONZO FIORENTINO 
Louvre.—Vasari, ed. Le Mon., xiii. 159, 
170; Ch. Blanc, Ecole florentine ; Burck- 
hardt, 640, 647, 756, 758; Meyer, Kiinst. 
Lex.,i. 494. - 

BROOK, Thomas Gainsborough, National 
Gallery, London; canvas, H. 4 ft. 3 in. x 4 ft. 
11 in. A wagoner, standing at left on a 
rustic foot-bridge, is endeavouring to start 
up his team of four horses tandem, which 
have stopped to drink at a brook. Some- 
times called the Watering Place. Vernon 
Gallery ; purchased in 1838 for £220 10s. 
Engraved by J. C. Bentley in Art Journal. 
—Brock-Arnold, 25 ; Art Journal (1849), 72. 

BROSAMER, HANS, born probably at 
Fulda between 1480 and 1490, died at EHr- 
furt about 1554. German school; portrait 
painter. One of the Little Masters, and 
more notable as an engraver than as a 
painter. Works: Male Portrait (1520), Vi- 
enna Museum ; others in private galleries 
in Cologne and Vienna.—Scott, Little Mas- 
ters, 121; Allgem. d. Biog., iii. 363 ; W.& 
W., ii. 433; Kunst-Chronik, xiii, 494. 

BROUILLLET, (PIERRE) ANDRE, born 
at Charroux (Vienne); contemporary. His- 
tory and portrait painter, pupil of Gérdme 


and J. P. Laurens. Medal: 3d class, 1884. 
Works: Violation of the Tomb of Urgel 
(1881); Women of Paris going to Versailles 
in 1789 to demand Bread (1882); At the 
Dockyard (1883); Exorcism (1884); Jewish 
Wedding at Constantine (1885), M. Chateau. 

BROUWER (Brauwer), ADRIAEN, born 
at Oudenarde 


in 1605 or 1606, 7D. 
died in Ant- REANG MOS 
s oY) iy ZEB TUS 
werp, buried A (a Vig Ge Nu 
‘ < & RU 
Feb. 1, 1638. Age 
4 \ AN rf. FAK 
Flemish school; - } i 
genre painter, (SHE g 


and one of the 
great masters 
in this line ; in- 
fluenced by 
Pieter Brueghel 
the elder, and by Rubens. Houbraken’s 
assertion that he was a pupil of Frans Hals 
cannot be substantiated. If he went to 
Holland at all, it was not until about 1630, 
when he was a finished artist. He was reg- 
istered in the Antwerp guild between Sept. 
18, 1631, and Sept. 18, 1632. Works: 
Tavern Interior (2), Smoker, two others, 
Louvre; Drinkers at Table, Brawl in a Tav- 
ern, Brussels Museum ; two Peasant Scenes, 
Cassel Gallery ; Surgical Operation and two 
others, Stadel Gallery, Frankfort ; Peasants 
at Cards, Spanish Soldiers at Dice, two 
Surgical Scenes, Fiddler in Tavern, Card 
Players fighting, and three others, Old Pina- 
kothek, Munich ; Fight of Three Peasants 
over Dice, Obedient Hus- 

fs B band, Peasants’ Brawl, 
eet three others, Dresden Gal- 
lery ; Peasant asleep in a Tavern, Old Wo- 


SUD pee 


man at Toilet, Smoker, Fray at Dice, and two 
others, Berlin Museum ; Interior with Peas- 


209 


BROWN 


ants, and four others, Hermitage, St. Peters- 
burg; others in Liechtenstein, Czernin, Ar- 
taria, and Schénborn Galleries, Vienna, in 
Schleissheim Gallery in Cologne, Stockholm 
and Madrid Museums, and in private collec- 
tions, England.—Allgem. d. Biog., iii. 366 ; 
Biog. nat. de Belgique, iv. 826; Ch. Blanc, 
Ecole hollandaise; Bode, Studien, 208 ; 
Dohme, li; Kugler (Crowe), ii. 417; P. 
Mantz, Adrien Brauwer; Michiels, ix. 156 ; 
Schmidt, Das Leben des Malers A. Brouwer 
(Leipsic, 1873). 

BROWN, FORD MADOX, born at 
Calais, France, of English parents, April 16, 
1821. Studied in Bruges Academy, at 
Ghent, under Van Hanselaer, and in 1837-39 
in Antwerp Academy ; wasin Paris in 1841- 
44, and in Rome in 1845, in which year he 
settled in London. Belongs to the realistic 
school, with a tendency toward Pre-Raphael- 
itism, though he refused to join the Brother- 
hood in 1849. Has exhibited but little at 
the Royal Academy. Works in oil, water- 
colours, and in fresco. Since 1850 he has 
been painting a series of frescos (each H. 
4 ft. 10 in. x10 ft. 5 in.) in the Town Hall 
of Manchester, illustrative of the history of 
the city. Subjects: The Romans building 
a Fort at Mancinion (4.p. 60); Baptism at 
York of Edwin, King of Northumbria (627); 
Expulsion of the Danes from Manchester 
(about 910); Establishment of Flemish 
Weavers in Manchester (1330); William 
Crabtree observing the Transit of Venus 
(1639); Defence of Manchester by Bradshaw 
(1642). Works: Wicklif reading his Trans- 
lation of the Bible to John of Gaunt (1848); 
Lear and Cordelia (1849); Pretty Baa-Lambs 
(1851); Last of England (1852); Chaucer 
reading at Court of Edward IIL; Our Ladye 
of Good Children; Cordelia’s Portion ; 
Ehud and Eglon; Work (1865); Coat of 
Many Colours (1865); Elijah raising the 
Widow’s Son; Jacopo Foscari; The En- 
tombment ; Haydnand Don Juan; Sardan- 
apalus and Myrrha; Romeo and Juliet 
(1870).—His son, Oliver Madox Brown 
(1855-1874) was a painter and author of 


much promise; his daughters, Mrs. W. M. 
Rossetti and Mrs. F. Hueffer, are also paint- 
ers.—Portfolio (1870), 81, 119; Scribner's 
Mag. (1872), iv. 157; Art Journal (1878), 
105; (1881), 262; Fraser’s Mag., May, 
1865, 598 ; L’Art (1882), iv. 81, 101, 161; 
Ingram, Biog. of Oliver M. Brown (London, 
1883). 

BROWN, GEORGE LORING, born in 
Boston, Mass., Feb. 2, 1814. Landscape 
painter ; pupil of Washington Allston, and 
in Paris of Eugéne Isabey. Visited Europe 
in 1840 and painted in Antwerp, Florence, 
Rome, Paris, and London; 
America in 1860. Studio in Malden. 
Works: Bay of New York (1860), Crown of 
New England (1861), Prince of Wales; Ven- 
ice, Sunset—Genoa, Niagara by Moonlight 
(1876); Moonlight Scene in Venice (1877); 
Capri (1878); Doge’s Palace at Sunset (1881); 
Sunrise—Venice (1882); Doge’s Palace— 
Venice (1884) ; do. at Sunrise (1885).—Art 
Journal (1880), 370 ; Zeitsch. f. b. K., vi. 61. 

BROWNE, Mme. HENRIETTE, born in 
Paris, 1829. Maiden name Sophie de Bou- 
teiller; married in 1853 M. Jules Desaux, 
secretary to Comte Walewski, but adopted 
the name of Browne from a maternal ances- 
tor. Genre painter; pupil of Chaplin. Med- 
als: 3d class in 1855, 1857, and 1859; 2d 
class in 1861; 3d class for engraving in 1863. 
Has sketched in the East and in North Afri- 
ca. Works: A Brother of the Christian 
School, Poor School at Aix, Mutual Educa- 
tion, The Rabbits (1855); Puritans, Cate- 
chism, Grandmother, The Lesson (1857) ; 
Sisters of Charity, The Toilette, A Sister, 
An Apothecary’s (1859); Woman of Eleusis, 
A Visit, Harem in Constantinople, Woman 
playing Flute, Consolation (1861); Turkish 
Child (1864) ; Celina and her Sister, The 
Awakening (1868); A Court at Damas, Nu- 
bian Dancing Women (1869); The Oranges 
(1870); Alsace (1872); No Matter, The 
Medallion (1873) ; Portraits, Coptic Poet 
(1874) ; The Parroquet (1875); The Ducat, 
A Bibliophile (1876).—Larousse ; Stephens, 
271. 


210 


returned to 


cs" 
a 


oa 


BROWN 


BROWN, J. APPLETON, born at New- 
buryport, Mass., July 24, 1844. Landscape 
painter ; pupil of B. C. Porter, in Boston, 
and of Emile Lambinet in Paris. He painted 
his first notable studies in Switzerland dur- 
ing a trip through Europe. Studio in Bos- 
ton. Works: Summer, View at Dives Cal- 
vados—France (1875); Old Road near Paris; 
November; On the Merrimac; Autumn ; 
Storm at the Isles of Shoals; Glen Mill 
Brook—Byfield, Mass. (1881) ; Springtime 
(1884).—Art Journal (1879), 74; Sheldon, 
117. 

BROWN, JOHN, born in England, 16th 
century. Was sergeant-painter to Henry 
VIIL, with a salary of £10 a year. In 1553 
he built Painters’ Hall for the company, and 
his portrait is preserved there. —Redgrave. 

BROWN, JOHN G., born at Durham, 
England, Nov. 11, 1831. Genre painter ; 
studied first at Newcastle-on-Tyne, then at 
Edinburgh Academy, and in 1853 in National 
Academy Schools, New York. Professional 
life passed in Brooklyn and New York. 
Elected an A.N.A. in 1862, and N.A. in 1863. 
Studio in New York. Works: Longshore- 
man’s Noon; Tough Customers; Country 
Gallants ; Thrilling Moment ; Dress Parade ; 
Three (Scape) Graces; Left his Money on 
the Piano; Curling in Central Park (1876); 
Passing Show (1878); Sunny Day (1879); 
Thrilling Moment (1880); Hiding, Long, 
Long Ago (1881); Old Shaver (1883); Merry 
Air and a Sad Heart, Amused (1884) ; Under 
the Weather, Wounded Playfellow (1884) : 
A Jolly Lot, The Monopolist (1885)—Shel- 
don, 141. | 

BROWN, JOHN LEWIS, born at Bor- 
deaux, Aug. 16, 1829. Genre painter, chiefly 
military and hunting scenes ; pupil of C. 
Roqueplan and of Belloc. Medals in 1865, 
1866, and 1867; L. of Honour,1870. Works: 
A Drum, Nidjeb (a horse), Colledano Letra- 
do (a horse), Henriot on the 10th of August, 
Gustine at Spire (1848); An Outpost, Retreat 
before Wolves, Steeple-Chase, Interior of a 
Stable, Horses on the Turf (1861); Dogs 
pausing, One of the Cent-Gardes, In the 


Crimea (1863); Hunting Incident, In the 
Woods of Vincennes in 1863, Encampment 
of Spahis at St. Maur (1864); Imperial Mili- 
tary Stud (bought by the Emperor), Pen- 
sioners’ Day, At the Outposts (1865); Riding 
School (1866, bought by Emperor); Morn- 
ing in the Camp of Chalons, The Day after 
(1867); two incidents in the War of Inde- 
pendence and in Seven Years’ War (1868); 
Battle of Ligny in 1815, Count de Saxe 
(1869) ; Hallali (1870) ; Reichshofen, Dogs 
Running (1872); News of the Defeat of Weis- 
senburg brought to Hagenau, Outposts of 
the First Corps in 1870 (1878); Landscape 
with Animals, Zodlogical Garden, Incident 
in Battle of Friéschwiller (1874); Norman 
Jockeys, Interrupted Journey, Officer arrest- 
ing Salt-Smugglers (1875) ; Rising Tide, 
Sentimental Journey (1876); Frenchmen 
beating in Game, Visit to the Salt Marshes 
of Croisic, Dutch Horses (1877); Incident in 
the military life of Marshal Conflans, Hunt- 
ing Scene (1878); Officer attacked by Plun- 
derers, Souvenir of the Isle of Wight (1880); 
Across Country (1881) ; Relay of Omnibus 
Horses (1884); Hallali,Return from the Chase 
(1885). 

BROWNING, ROBERT BARRETT, born 
in England about 1848. Genre painter ; 
son of Robert and Elizabeth Barrett Brown- 
ing. Studied at Antwerp and Paris. Works : 
Worker in Brass—Antwerp (1878); Stall 
in Fish Market at Antwerp, Dinant on 
the Meuse (1879); Still Life, Disturbed 
Life, Tan Garden—Dinant (1881); Vespers 
(1882); Valley of the Meuse (1884); portrait 
of Robert Browning (1885), Baliol College ; 
Landscape, Boston Museum of Fine Arts ; 
Meuse from Bouvigne, New York Museum. 
Exhibited at Grosvenor Gallery (1884) a 
bronze statue and two busts. 

BROZIK, VACZLAY, born at Tzemosch- 
na, near Pilsen, Bohemia, in 1852. History 
painter; pupil of the Prague Academy, in 
Munich of Piloty, and in Paris of Mun- 
kacsy ; studio in Paris since 1876. Medal, 
2d class, 1878. Works: Farewell of Ottokar 
II. (1874), The Kiss, St. Iria, Dagmar, 


211 


BRUANDET 


Daughter of Premysl, Ottokar I. taken 
from Convent by Waldemar of Denmark 
(1876); The Good Friend (1876); Em- 
bassy of Ladislaus of Bohemia to Charles 
VIL. of France (1878), National Gallery, Ber- 
lin; Game of Chess (1879); Meeting of 
Charles IV. with Petrarch and Laura at 
Avignon (1879); Reading the Bible, M. K. 
Jessup, New York; Condemnation of John 
Huss by Council of Constance in 1415 
(1883) ; My Children (1884); First Pres- 
entation (1885).—Miiller, 82. 

BRUANDET, LAZARE, born in Paris 
in 1755, died there in 1803. Landscape 
painter, in style of Ruisdael. Painted for- 
est views with success. Work: View in 
Forest of Fontainebleau (1785), Louvre.— 
Siret, 142 ; Ch. Blane, Ecole francaise. 

BRUCK, LAJOS (Louis), born at Papa, 
Hungary, Noy. 3, 1846. Genre painter ; 
pupil of Vienna Academy ; studied in 1869-— 
72 in Italy, especially in Venice, where he 
was for a short time a pupil of the Acad- 
emy; also pupil in Paris of Munkacsy. 
Works: Unwilling Scholar, D. W. Powers, 
Rochester, N. Y.; Love Letter, M. K. J essup, 
New York ; Departure for the City (1877); 
The Letter (1878) ; Forsaken (1879) ; Suit- 
able Outfit (1880); Fruit Girl, H. V. New- 
comb, New York ; Children at Play, J. W. 
Drexel, New York ; Noonday Rest (1883) ; 
Foundery (1884); L’avare(1885).—Miiller, 82. 

BRUCKMANN, FERDINAND ALEX- 
ANDER, born at Ellwangen, Feb. 21, 1806, 
died in Stuttgart, Feb. 9, 1852. History 
and portrait painter; pupil of Wachter in 
Stuttgart, in 1826, and of H. von Hess in 
Munich, in 1827-29. In 1829 he went to 
Rome, and returned to Munich in 1833, 
when he painted in the king’s bedchamber 
fourteen subjects from Theocritus, partly 
after sketches by Hess, partly after his 
own. From 1840 he painted almost exclu- 
sively portraits, in Stuttgart, temporarily 
also in Ulm, Augsburg, and Ziirich. Be- 
came insane in consequence of an accident 
in 1835, and eventually committed suicide. 
Works: Barbarossa’s Body taken out of the 


Calycadnus, Women of Weinsberg, Thus. 
nelda in Captivity, Stuttgart Gallery ; The 
Maiden from Afar, Royal Castle, Friedrichs- 
hafen ; The Sirens, Romeo and Juliet, Birth 
of Venus, St. Lucas, Allegories of the Fine 
Arts.—Allgem. d. Biogr., iii. 397 ; Raczynski, 
ii. 205. 
JAN, called 
Flu weelen 
(Velvet) 
Bruegel, 
born in Brus- 
sels in 1568, 
died in Ant- 
werp, Jan 13, 
1625. Flem- 
ish school; 
SS son of Peeter 
“2 B. the elder ; 
painted chiefly landscapes, but also genre 
and mythological subjects, animals and still 
life; pupil at Antwerp of Peeter Goetkint, 
but mostly self-taught; highly gifted and 
versatile. After a sojourn in Italy (1593-96), 
settled at Antwerp, where he was master of 
the guild in 1597, dean in 1602; a citizen 
in 1601. Was in Nuremberg in 1616. His 
works are characterized by realism, finish 
to the finest details, brilliancy of colour, 
and correct perspective. Though a con- 
scientious and industrious artist, he was a 
rapid worker ; greatly esteemed by his con- 
temporaries, he had a lasting influence, and 
trained several pupils and followers of re- 
nown ; often worked conjointly with Van 
Balen, Rottenhammer, and Rubens, with 
whom he was allied in close friendship. 
Works: The Five Senses (7), The Four 
Elements (4), Sciences and Arts, Earthly 
Paradise (3), Park of Brussels, thirty-seven 
others, Madrid Museum ; Landscape (1600), 
Bridge of Talavera (1610), Earthly Paradise 
(1611), The Air (1621), three others, Louvre, 
Paris; Sermon of St. Norbert at Antwerp, 
Autumn, Brussels Museum ; Pieta (figures 
by Rubens), Antwerp Museum; Earthly 
Paradise (figures by Rubens), Flight into 
Egypt (figures by Rottenhammer), City on 


212 


BRUEGHEL 


a River (1624), four others, National Mu- 
seum, Amsterdam ; Christ and the Magda- 
len, Rotterdam Museum; The Flood, six 
others, Cassel Gallery ; four in Brunswick 
Museum ; Forge of Vulcan (figures by Van 
Balen), Feast of Bacchus (figures by Rot- 
tenhammer), St. Hubert (figures by Ru- 
bens), The Paradise, Still life, Berlin Mu- 
seum ; Landscapes (dated 1604, 1605 (3), 
1608 (3), 1611 (2), 1612, 1613), twenty-two 
others, Dresden Gallery ; Flora (figures by 
Rubens), Landscapes (1598, 1599, 1609, 
1610, 1612, 1615, 1616, 1620), eighteen 
others, Old Pinakothek, Munich ; Adoration 
of the Magi (1598), The Four Elements 
(1604, figures by Rottenhammer), Bouquet 
(1625), four others, Vienna Museum; Land- 
scapes (7), Hermitage, St. Petersburg ; 
Christ on Lake Genesareth (1595), Land- 
scapes with Hermits (1596, 1596, 1597), 


Abundance (1605), Bouquet (1608), Daniel ! 


in Lion’s Den (1608), Fire and Water 
(1610, 1611), Ambrosiana, Milan. His 
son Ambrosius (born Aug. 10, 1617, died 
Feb. 9, 1675), was a distinguished flower 
painter; pupil of his brother Jan, the 
younger.—Allgem. d. Biog., iii. 403 ; Biog. 
nat. de Belgique, iii. 26; Ch. Blanc, Ecole 
flamande; Cat. du Musée d’Anvers (1874), 
304; Dohme, li.; J. van der Kellen, 1. 220 ; 
Michiel, v. 351; Riegel, Beitrage, ii. 40 ; 
Rooses (Reber), 127. 

BRUEGHEL, JAN, the younger, born in 
Antwerp, baptized Sept. 13, 1601, died after 
1677. Flemish school; son and pupil of 
Velvet Brueghel; went to Italy in 1622, 
returned in 1625, little influenced by Italian 
art. Like his father, he remained essen- 
tially Flemish. He was for a long time un- 
justly ignored, as many of his pictures 
were attributed to his father. Rubens, 
Van Diepenbeeck, Van Tulden, and Van Ba- 
len often supplied the figures in his land- 
scapes. Works: Halt in front of an Inn 
(1641), Landscape, Tower on Seashore 
(1642), Dresden Gallery.—Biog. nat. de Bel- 
gique, iii. 34; Ch. Blanc, Ecole flamande ; 
Dohme, 1i.; Michiels, v. 370. 


BRUEGHEL, PEETER, the elder, called 
Boeren (Peasant) Brueghel, born at Brue- 
ghel, near 
Breda, about 
1525-1530, 
died in Brus- 
sels about 
1570. Flem- 
ish school; pu- G 
pil of Pieter ~——\\ 
Koeck van 
Aalst, and of 
Hieronymus 
Cock, and greatly influenced by the works 
of Hieronymus Bosch, whose subjects he im- 
itated ; became master of the guild in Ant- 
werp in 1551, and shortly after went to 
Italy ; after his return lived at Antwerp 
until 1563, then settled at Brussels. Paint- 
ed chiefly scenes from peasant life, which 
he treated from a realistic and humorous 
point of view, not always avoiding coarse- 
ness; also some scriptural subjects and 
ghost and incantation scenes, in the manner 
of Bosch. Left a great number of masterly 
drawings, and some etchings made on his 
travels. Works: Triumph of Death, Mad- 
rid Museum; Landscape, Village Dance, 
Louvre, Paris; Job on his Dunghill, Douai 
Museum; Village Feast, Nancy Museum ; 
Massacre of the Innocents, Brussels Muse- 
um; Christ on Lake Genesareth, Seaport, 
two Landscapes, Cassel Gallery; St. John 
preaching, Basle Museum ; do., and Peas- 
ants’ Frolic, Old Pinakothek, Munich ; do., 
and Peasants’ Brawl, Dresden Gallery ; Con- 
test between Carnival and Lent (1559), Chil- 
dren’s Frolic (1560), Massacre of the Inno- 
cents, Christ bearing the Cross (1563), Tow- 
er of Babel (1563), four others, Museum, Vi- 
enna; St. John preaching, Dance of Death, 
The Blind leading the Blind, and others, 
Liechtenstein Gallery, ib.; The Blind leading 
the Blind (1568), Naples Museum ; Christ 
bearing his Cross, Uffizi, Florence.—Allgem. 
d. Biog., iii. 400; Biog. nat. de Belgique, 111. 
19 ; Ch. Blane, Ecole flamande ; Dohme, 11.; 
Michiels, v. 321; Rooses (Reber), 75. 


213 


BRUEGHEL 


BRUEGHEL, PEETER, the younger, 
called Hollen (Hell) Brueghel, born in Brus- 
sels in 1564, died in Antwerp about 1637. 
Flemish school ; son of Peeter B. the elder ; 
pupil of Gilles van Conincxloo ; registered 
asa master in Antwerp in 1585. He was 
much influenced by the works of his father, 
whose predilection for ghostly and diaboli- 
ical subjects he inherited, but he was his 
inferior in invention, colouring, and techni- 
cal merit. Works: Christ delivering Souls 
from Purgatory, National Museum, Amster- 
dam ; Christ bearing the Cross (1607), Ant- 
werp Museum; do. (1606) and Peasants’ 
Brawl, Berlin Museum ; Hell (1596), Temp- 
tation of St. Anthony (1604), Destruction of 
Sodom and Gomorrah, Dresden Gallery ; 
Rape of Proserpine, Tower of Babel, Con- 
flagrations (2), Landscapes (2), Madrid 
Museum ; Fall of Rebel Angels, Brussels 


Pe BRYEGHED 1606 


Museum.—Allgem. d. Biog., iii. 402; Biog. 
nat. de Belgique, iii. 24; Ch. Blanc, Ecole 
flamande; Dohme, 1i.; Michiels, v. 343; 
Rooses (Reber), 80. 

BRULLOW (Brylow), KARL PAVLO- 
VICH, born in St. Petersburg in 1799, 
died at Marciano, near Rome, June 23, 
1852. History painter, pupil of St. Pe- 
tersburg Academy under Ivanoff; went 
in 1823 to Rome, and after his return be- 
came court painter and professor at 
the Academy. In 1835 he visited Greece, 
Turkey, and Palestine, and later went again 
to Italy. He was member of the St. Peters- 
burg, Milan, and Bologna Academies. 
Works: Narcissus (1819); Last Day of 
Pompeii (1833), Hermitage, St. Petersburg ; 
Murder of Inez de Castro ; Ascension, Kasan 
Church, St. Petersburg ; fresco paintings 
in Isaac Church, many portrait and genre 
scenes in Hermitage.—Brockhaus, iii. 619; 
Meyer, Con. Lex., iv. 10. 

BRUMIDI, CONSTANTINO, born in 
Rome, June 20, 1805, died in Washington, 
Feb. 19, 1880. History painter; studied in 


Rome and became member of the Academy 
when thirteen years old; painted frescos in 
several palaces of his native city and under 
Gregory XVI. for three years in the Vatican. 
After the occupation of Rome by the French 
in 1849, he went to America, where he was 
naturalized in 1852 ; went to Mexico in 1854 : 
after his return to Washington was made 
captain of cavalry, and afterwards entrusted 
with the decoration of the Capitol. His 
Apotheosis of Washington and scenes from 
American history and allegories in the 
Capitol, Washington, were the first frescos 
painted in America.—Meyer, Cony. Lex, 
xvill. 158. 

BRUN. See Lebrun. 

BRUNE, Mme. AIMEE PAGES, born in 
Paris, Aug. 24, 1803, died there, Aug. 11, 
1866. Genre and history painter ; pupil of 
Charles Meynier. Medals: 2d class, 1831; 
Ist class, 1841. Works: Sleep, Awakening, 
Elopement, Undine (1831); Condemnation 


of Anne Boleyn, The Bravo, The Prophecy - 


(1833); Sad News (1834); Silvio Pellico 
(1835); Birth in a Fisherman’s Family 
(1837); Moses Saved (1841); Jairus’s Daugh- 
ter (1842); Raphael introduced to Leonardo 
da Vinci by Bramante (1845); Jephthah’s 
Daughter (1846); The Virgin offering Flow- 
ers in the Temple (1853). 

BRUNI, FEODOR ANTONOVICH, born 
in Milan in 1801, died in St. Petersburg, 
Nov. 1875. History painter ; studied in 
1834 in Rome, became, in 1849, director of 
the painting department at the St. Peters- 
burg Academy, then rector, and in 1866 
also director of the School of Mosaics. 
Works: Apparition of Virgin (Kasan Church, 
St. Petersburg), Death of Cleopatra, Brazen 
Serpent, Christ on Mount of Olives, Bac- 
chante giving a Child to drink.—Kinst- 
Chronik, xi. 73. 

BRUNNER, HANS, born in Munich, 
March 2, 1813. Genre and portrait painter; 
pupil of Munich Academy, under Cornelius; 
visited in 1833 the Bavarian Alps and Ty- 
rol ; lived then for some time in Venice. In 
1840 he left Munich and lived until 1865 in 


214 


BRUNNER 


Salzburg and Southern Tyrol, then went to 
Stuttgart, and in 1869 returned to Munich. 
Works: Legend of the Untersberg near 
‘Salzburg, Return from the Chase, Gondola 
Sail (1876), Tasting Wine (1877), Fisher 
Maiden, Poachers, Meran, Portraits of Aus- 
trian Noblemen.—Miiller, 83. 

BRUNNER, JOSEF, born in Vienna, 
March 14, 1826. Landscape painter; son 
of the court painter, Leopold B. the elder 
(1788-1866); pupil of Zaharadniczek, and 
of Jos. Feid; travelled in Germany, Italy, 
Switzerland, and Wallachia. Studio in Vi- 
enna. Works: Black Tower near Médling, 
View in Silesia, Fir-Trees in Twilight, View 
in the Klause near Médling, View near 
Lundenburg, View on the Traun, Mountain 
Lake in Carinthia. —Wurzbach, ii. 175. 

BRUNNER, LEOPOLD, the younger, 
born in Vienna, Sept. 14, 1822, died there, 
Dec. 24, 1849. German school; animal paint- 
er, brother of preceding, pupil of Vienna 
Academy. Works: Feeding the Goat (1849), 
Vienna Museum; others in National Muse- 
um, Pesth; Dog Company (1852); Domestic | 
Animals on a Hill (1855).—Wurzbach, ii. 176. 

BRUNO, ST., HISTORY OF, Eustace 
Lesueur, Louvre, Paris ; canvas, 22 pictures, 
each, H. 6 ft. 4 in.x4ft.3in. The princi- 
pal events in the life of St. Bruno, founder 
of the Chartreuse, Paris, were painted in 
1645-48 for the spaces between the pilasters 
in the little cloister of that monastery, to re- 
place similar pictures upon canvas painted 


in 1508, which were almost destroyed by 
time, and which had been preceded by fres- 
cos painted in 1350. The designs (146) are 
also in the Louvre. In 1776 they were of- 
fered to Louis XVI. for 132,000 livres, the 
convent to receive copies; but the Order 
was suppressed soon after, and the pictures 
passed to the crown. After restorations 
they were placed in the Louvre in 1818. 

1. St. Bruno listening to Raymond Dio- 
crés preaching. Filhol, x. Pl. 686 ; Landon, 
Musée, vii. Pl. 70. 

2. Death of Raymond Diocrés. Filhol, 
vi. Pl. 482 ; Landon, Musée, vii. Pl. 25. 


3. Raymond Diocrés responds after 
Death. Filhol, vi. Pl. 379 ; Landon, Musée, 
Wilk lal: 

4, St. Bruno in Prayer. Filhol, vi. Pl. 
440; Landon, Musée, vii. Pl. 30. 

5. St. Bruno teaching Theology 
Rheims. Filhol, iii. Pl. 145. 

6. St. Bruno exhorting his Friends to 
give up the World. Filhol, ix. Pl. 705; 
Landon, Musée, xvii. Pl. 70. 

7. St. Bruno’s Dream. Filhol, ix. Pl. 698 ; 
Landon, Musée, xvii. Pl. 68. 


at 


St. Bruno's Dream, Lesueur, Louvre, Paris. 


8. St. Bruno and his Companions giving 
their Property to the Poor.. Filhol, 1x. Pl. 
680; Landon, Musée, viii. Pl. 49, 

9. St. Brunoarrives at Grenoble. Filhol, 
viii, Pl. 529 ; Landon, Musee, vii. Pi. 54. 

10. St. Bruno travelling to the Chartreux. 
Filhol, viii. Pl. 548 ; Landon, Musée, xv. Pl. 
33. 

11. St. Bruno building the Monastery. 


215 


BRUNO 


Filhol, viii. Pl. 562 ; Landon, Musée, vii. Pl. 
39. 

12. St. Bruno taking the Monastic Habit. 
Filhol, v. Pl. 343 ; Landon, Musée, viii. Pl. 5. 

13. Pope Victor IT. confirming the Char- 
treuse. Filhol, ix. Pl. 717; Landon, Musée, 
vii. Pl. 63. 

14. St. Bruno bestowing the Monastic 
Habit. Filhol, ix. Pl. 710; Landon, Musée, 
vii. Pl. 65. 

15. St.Bruno receiving a Letter from Pope 
Urban II. Filhol, ii. Pl. 189 ; Landon, Mu- 
sée, vil. Pl. 34. 

16. St. Bruno before Pope Urban II. Lan- 
don, Musée, viii. Pl. 37. 

17. St. Bruno refusing the Archbishopric 
of Reggio. Filhol, vi. Pl. 421; Landon, Mu- 
sée, vill. Pl. 41. 

18. St. Bruno in the Deserts of Calabria. 
Filhol, ix. Pl. 699; Landon, Musée, viii. PI. 
26. 

19. Meeting of St. Bruno and Count Ro- 
ger. Filhol, v. Pl. 301; Landon, Musée, viii. 
Pl. 28. 

20. Apparition of St. Bruno to Count 
Roger. Filhol, ii. Pl. 205; Landon, Mu- 
sée, vill. Pl. 30. 

91. Death of St. Bruno, Oct. 6, 1101. Fil- 
hol, iv. Pl. 253 ; Landon, Musée, vii. Pl. 41. 

22. St. Bruno borne to Heaven. Filhol, 
viii. Pl. 574; Landon, Musée, viu. Pl. 35. 

Series engraved, in reverse, by Chauveau; 
Nos. 15 and 22 by S. le Clerc; No. 22 by 
F. Poilly.—Villot, Cat. Louvre ; Landon, 1. 
18-39. 

BRUNO, ST., VISION OF, Guercino, Bo- 
logna Gallery ; canvas, H. 11 ft. 10 in. x 7 ft. 
The Virgin and Child in a glory of Angels ; 
below, St. Bruno in Prayer; atright a monk 
with a crucifix in his hand, reading. One of 
Guercino’s best works. Painted in 1646 for 
the Church of the Certosa, Bologna ; carried 
to Paris in 1796; returned in 1815. En- 
graved by G. Rosaspina.—Pinac. di Bologna, 
Pl. 21; Meyer, Kiinst. Lex., iii. 4; Landon, 
Musée, xii. Pl. 6; Burckhardt, 793. 

BRUSASORCTL, the elder, born in Verona, 
in 1494, died in 1567. Venetian school. 


Real name Domenico Riccio; pupil of Ca- 
rotto, according to Ridolfi, or of Niccold 
Giolfino, according to Lanzi. Studied later 
in Venice the works of Titian and of Gior- 
gione, and learned to imitate their styles, 
though not without some originality. His 
mural and panel works are to be seen chiefly 
in Verona. His excellence as a fresco painter 


\ 


NK ; 
wy 


Vision of St. Bruno, Guercino, Bologna Gallery. 
is shown in the Entry of Clement VII. and 
Charles V. into Bologna, which he painted 
in a hall of the Casa Ridolfi, Verona.—Ch. 
Blane, Ecole vénitienne; Seguier, 216; Burck- 
hardt, 167, 191, 607, 746 ; Bernasconi, 302. 

BRUSASORCTI, the younger, born in 1540, 
died in 1605. Venetian school. Real name 
Felice Riccio, son and pupil of Domenico 
Riccio; after his father’s death, finished 
studies under Jacopo Ligozzi, Florence, and 


216 


BRUSH 


returned to Verona master of a refined and 
elegant style. Many of his works are in the 
churches of Verona, among the best of which 
is St. Helena in S. Elena. There is a Holy 
Family by him in the Louvre, and a Victory 
of the Veronese at Desenzano in the Verona 
Gallery. His sister Cecilia, who studied 
under her father, was an excellent portrait 
painter.—Ch. Blanc, Ecole vénitienne ; Ber- 
nasconi, 349. 


Rest, Peasant Delegation, The Prince on the 


Promenade, Pilgrims Returning, Visit at the 


Studio, Power of Music, The Petitioner.— 


Ilustr. Zeitg. (1877), ii. 327; (1878), i. 67. 


BRUTUS, Jean Louis David, Louvre, 


Paris; canvas, H. 10 ft. 8 in. x 13 ft. 10 in.; 


signed, dated Paris, 1789. Brutus, returned 


home after the punishment of his sons, is 


seated at left in the shadow of the statue of 


Roma, holding in his hands the written evi- 


G 


j 
/ 
i / 
fa 
if 
| 
I 
| 
2 
ky 
l| 
7, 
, 
{ 
>| 
ISNA | 
ey 
bb 
\F 
{A 


Brutus, Louis David, Louvre, Paris. 


BRUSH, GEORGE DE FOREST, born 
in Shelbyville, Tenn., in 1855. Figure 
painter, pupil of the National Academy ; 
member of Society of American Artists ; 
professor of antique class, Art Student's 
League. Studio in New York. Works: 
Mourning her Brave, T. B. Clarke, New 
York ; Portrait of A. C. Brush (1882). | 

BRUTT, FERDINAND, born in Ham- 
burg, July 13, 1849.. Genre painter, pupil 
at Weimar art school of Pauwels ; settled in 
1876 in Disseldorf. Works: Disturbed 


dence of their guilt ; at right, his wife and 
daughters are overcome with grief at the 
sight of the lictors in the background bear- 
ing the bodies of the young men. Painted 
for Louis XVI. Salon, 1789. — Landon, 
Musée, x. Pl. 37; Villot, Cat. Louvre. 

By G. G. Lethiére, Louvre; canvas, H. 14 
ft. 4 in. x 25 ft. Brutus, with Collatinus, his 
colleague, on his right, sits on a platformover- 
looking the place of execution, with the sen- 
ators behind him; in the centre, two lictors 
raise the body of one of the sons, already 


217 


BRUYCKER 


executed, while the other prepares to meet 
his fate ; in background, architecture. Col- 
lection of Louis XIIL.; Salon, 1812 ; acquired 
in 1819 for 15,000 fr.—Réveil, x. 659. 

BRUYCKER, FRANCOIS ANTOINE DE, 
born in Ghent, Belgium, in 1816. Genre 
painter ; pupil of Ghent Academy, and in 
Antwerp of Ferd. de Braekeleer. Gold 
medal in 1860; member of Amsterdam 
Academy. Works: Suspicion (1842), Woo- 
ing, Dost Remember? Hot Shells, Spring 
Day, Old Gardener (1857), The Widow 
(1860), Reminiscence of Olden Times, Funny 
Idea, Motherly Caresses, Child and Kitten 
(Leipsic Museum), Envy and Distrust.—Art 
Journal (1866), 75; Miiller, 84. 

BRUYN (Brun), BARTHEL, born in Co- 
logne in 1494, died there between 1556 and 
1557. German school; history and portrait 
painter ; formed himself after Jan Schoreel, 
the painter of the Death of the Virgin, and 
in his portraits resembled Holbein. Later 
he became a weak imitator of the Italian 
masters, especially of Michelangelo. Works: 
Martyrdom of St. Ursula, Adoration of the 
Magi, Burgomaster Browiller, do. and Wife, 
Two Male Portraits, Old Lady of the Ques- 
tenberg Family, Cologne Museum ; Corpus 
Christi, Cologne Cathedral; St. Catherine 
and 18 others, Munich Gallery ; Madonna, 
Burgomaster Ryth, Berlin Museum; Por- 
traits in Stidel Gallery, Frankfort, in 
Gotha, Brunswick, and Brussels Galleries ; 
Altarpiece in St. Victor's Church, Xanten 
(masterpiece).—Allgem. d. Biog., in. 456 ; 
Merlo, Nachrichten, 69; W. & W., 1. 497. 

BRYES, Greek painter, of Sicyon, father 
and master of Pausias, 4th century, B.c. 

BUCHSER, FRANZ, born at Feldbrun- 
nen, near Solothurn, Switzerland, about 
1829(?). Genre and portrait painter ; stud- 
ied in Rome, Paris, and Antwerp; went 
to Spain at the age of twenty-two, and 
thence to England, where for three years he 
painted genre pictures, but more especially 
horses and portraits; in 1857 he returned 
to Spain, visited Morocco soon after, and 
again, during the Spanish campaign of 1860, 


in the suite of Gen. O'Donnell. Having re. 
turned to Switzerland he went in 1866 to 
America, where he spent five years. Works: 
Three Friends; Return from Market, Jews 
of Mekiness (1862); Mowers (1867); Mary 
Blanc (1869); Negro Picture (1870); Resig- 
nation (1867), Negro Soldiers in Streets of 
Washington, Rapids of St. Mary on Lake 
Superior, Basle Museum; Caught by the 
Tide (1879); Singer of Sudan (1881). Por- 
traits of Generals Lee and Sherman, Secre- 
tary Sherman, etc.—Illustr. Zeitg. (1873), 
ii. 140; Kunst-Chronik, xiv. 605; xvi. 657. 
BUCKWHEAT HARVEST (La Récolte 
du Sarrasin), Jean Francois Millet, Martin 
Brimmer, Boston. In foreground, a woman 
binding sheaves, which another is packing 
in a pannier; behind them, several women 
carrying panniers to background, where 
men are threshing. This picture is the 
original pastel, made in 1868, which passed 
from the Garet Collection, Paris, to Mr. 
Brimmer. The oil picture, painted from 
it in 1874 and one of the last pictures on 
which Millet worked, was sold at the Fred- 
eric Hartmann sale, Paris (1881), for 47,000 
francs. Ktched by Charles Courtry.—Gaz. 
des. B. Arts (1875), XT. 488. 
BUECKLAER (Beukelaar), JOACHIM, 
born in Antwerp in 1530, died after 1575. 
Flemish school; genre painter, pupil of 
Pieter Aertszen. Registered in the Antwerp 
guild in 1560. His subjects are chiefly 
market and kitchen scenes, also biblical 
events admitting of combination with genre. 
Works: Purveyor, Lille Museum; Christ 
before Pilate (1561), Fish-Market (1568), 
Old Pinakothek, Munich ; Christ healing the 
Lame (1575), Hermitage, St. Petersburg. 
—Biog. nat. de Belgique, ii. 382 ; Michiels, 
vi. 304 ; Rooses (Reber), 73. 
BUFFALMACCO, BUONAMICO, 14th 
century, died after 1351. Florentine school ; 
real name Cristofani Buonamico. According 
to Vasari, he died in 1340 at the age of sev- 
enty-eight, but his name appears in the list 
of the Florentine Company of Painters of 
1351, and Baldinucci says that he lived later 


218 


BUGIARDINI 


than 1358. Rumohr doubts, and Kugler de- 
nies, his existence. Vasari says he was the 
pupil of Andrea Tafi and represents him as 
a practical joker, who lived a merry life and 
died a beggar ; but that he was an excellent 
painter and able to outdo all others when he 
could be persuaded to work. He assigns 
many works to him, but it is doubtful if any 
examples remain.—C. & C., Italy, 1. 387; 
Vasari, ed. Mil., i. 499; Rumohr, Italien- 
ische Forschungen, 14. 

BUGIARDINI, GIULIANO, born in Flor- 
ence, Jan. 29, 1475, died there, Feb. 16, 
1554. Florentine school ; studied the an- 
tique in the garden of the Medici, where he 
became the friend of Michelangelo and fol- 
lowed him into the workshop of Ghirlandajo. 
Afterward was scholar of and assistant to 
Mariotto Albertinelli with Francia Bigio in 
Florence, and later was employed by Michel- 
angelo on the ceiling of the Sistine Chapel. 
His usual theme is the Madonna, sometimes 
with the youthful St. John, and sometimes 
with Saints. Among his works, which are 
usually signed Jul. Flor. (Florentinus), are: 
Birth of Christ, sacristy of Sta. Croce ; Weep- 
ing Madonna, Uffizi, Florence ; Martyrdom 
of St. Catherine, S. M. Novella, ib.; Ma- 
donna and Baptist, Leipsic Museum ; Na- 
tivity, Berlin Museum; Marriage of St. 


IVL> FLO~- FAC ~ 


Catherine, Bologna Gallery.—C. & C., Italy, 
ili. 494; Vasari, ed. Mil. vi. 201; Ch. Blanc, 
Ecole florentine ; Burckhardt, 638 ; Liibke, 
Gesch. ital. Mal., 1. 176..- 

BUHLMEYER, KONRAD, born in Vi- 
enna, Aug. 18, 1835, died there in Nov., 
1883. Landscape and animal painter, pu- 
pilof Vienna Academy ; studied then several 
years in Diisseldorf, and later in Zitirich 
under Koller. Works: Wood-Path ; View 
near Lundenburg ; View in Salzburg ; View 
in the Ramsau ; On Gmunden Lake; Driv- 
ing the Cattle to the Alp, Vienna Museum ; 
Animals Resting; Driving Sheep Home; 
The Ploughman ; Cows on the Water ; Pas- 
ture (1883).—Miiller, 85. 


BULAND, JEAN EUGENE, born in 
Paris ; contemporary. Genre painter ; pupil 
of Cabanel and Yvon. Medal, 3d class, 
1885. Works: Offering to God, Lycenion 
and Daphnis (1880); Annunciation, After 
Two Years’ Absence (1881); Jesus with 
Martha and Mary, Singing Lesson (1882); 
Penniless (1883); Marriage innocent, Visit 
on the Day after Marriage (1884); Restitu- 
tion to the Virgin the Day after Marriage, 
Decorative Panel (1885). 

BULARCHUS, painter, early period. 
Pliny says (vil. 39 [126], xxxv. 34 [55]) that 
King Candaules of Lydia paid its weight in 
gold for a large picture by him representing 
his battle with the Magnetes. ; 

BULGARINI, BARTOLOMMEO, died in 
Siena in 1878. Sienese school; called also 
Bolgharini, and by Vasari Bologhini. Pupil 
of Pietro Lorenzetti; member of the su- 
preme council in 1362, and finally lay- 
brother in the hospital at Siena. Vasari 
says he painted many pictures in Siena, and 
in other parts of Italy, but none exist. Va- 
saris portrait of Pietro was copied from 
Bulgarini’s.—C. & C., Italy, ii. 172 ; Meyer, 
Kiinst. Lex., iii. 60; Vasari, ed. Mil., i. 477. 

BUNCH, WILLIAM GEDNEY, born in 
Hartford, Conn., in 1842. Landscape painter; 
pupil of William Hart in New York, Andreas 
Achenbach in Diisseldorf, and Claysin Brus- 
sels. Lived twelve yearsin Europe. Studio 
in New York. Works: Venice—Night (1876); 
Venice—Morning, La Luna Veneziana 
(1878) ; Approach to Venice, Paris Exposi- 
tion; Twilight in Holland, T. B. Clarke, 
New York; Watch Hill—Rhode Island (1880); 
Venetian Boats (1881) ; Satucket Hillside— 
New England, Among the Sails—Venice, Bit 
of Harbour—Venice (1882); Sun, Sails and 
Sea—Venice, Day in May—Venice (1883) ; 
On the Lagoon, San Giorgio (1884); Vene- 
tian Day, Venetian Night (1885). 

BUNEL, JACQUES, born at Blois, 1558, 
died in 1614. French school, pupil in Rome 
of Federigo Zucchero ; was court painter to 
Henry IV.; with Dubreuil decorated the 
small Louvre Gallery, which was burnt in 


219 


BUNKER 


1661. Works: Descent of Holy Ghost, 
Assumption, Bordeaux Museum.—Ch. Blane, 
Ecole francaise. 

BUNKER HILL, BATTLE OF, John 
Trumbull, Yale College Gallery, New Haven, 
Conn.; Fought on Breed’s Hill, near Boston, 
June 17, 1775. The British troops have 
just become masters of the field, the Ameri- 
cans sullenly falling back ; in centre, Gen- 
eral Warren, dying, supported by a soldier 
on his knees who wards off with one hand 
the bayonet of a British grenadier ; Colonel 
Small, of the British army, is also seizing 
the soldier’s musket ; behind him is Colonel 
Pitcairn, mortally wounded ; Generals Howe 
and Clinton are behind the principal group, 
and General Putnam is ordering a retreat. 

BUNNER, ANDREW FISHER, born in 
New York, in 1841. Landscape painter ; 
studied five years in Germany, France, and 
Italy. First exhibited at National Academy, 
New York, in 1867. Elected an A. N. A., in 
1880. Went to Venice in 1882 and is still 
(1885) living there. Works: Fishing Boats 
on the Maas (1880) ; San Giorgio Maggiore 
—Venice (1881); off the Campo Santo, 
Canal dei Mati, Il Campiello (1882); San 
Giorgio della Salute, La Guidecca, Rio della 
Verona (1883) ; San Andrea, Venetian Gar- 
den (1884) ; Canale San Severo, San Marsil- 
ian, Casa dei Pescatori, Rio del Aqua (1885). 

BUONACCORSI. See Vaga. 

BUONAMICI. See Zassi. 

BUONAMICO. See Buffalmacco. 

BUONARROTI See Michelangelo. 

BUONCONSIGLIO, GIOVANNI, of Vi- 
cenza, flourished 1497-1530. Commonly 
called Tl Marescalco. Probably assistant to 
Speranza, where he felt the influence of the 
Paduan school ; subsequently took Antonello 
da Messina for his model. Painted alter- 


nately in Vicenza, in Venice, and in the}, 


neighbouring provinces. Style much lke 
that of Benedetto Montagna, but while he 
improved by study of Carpaccio, Buoncon- 
siglio formed his style under the influence 
of Antonello and Gio. Bellini. Among his 
best works are the Virgin and Child in San 


Rocco, Vicenza, painted in 1502 ; Christ be. 
tween two Saints, in the Gesuiti, Venice ; 
and the Virgin, Child, and Saints, three 
pictures, 1511-1513, much restored, in the 
Duomo of Montagnana (near Vicenza); Lam- 
entation over dead body of Christ, Gallery, 
Vicenza; Altarpieces at S. Giacomo dell 
Orto, and 8S. Spirito, Venice ; Madonna with 
Saints (1497), Venice Academy.—C. & C., 
N. Italy, i. 436 ;) Burckhardt, 604. 

BUONFIGLIO. See Bonjfigii. 

BUONINSEGNA. See Duccio di Buonin- 
seona. 

BURCHETT, RICHARD, born at Brigh- 
ton, England, in 1817, died in Dublin, in 
1875. History painter, pupil of School of 
Design at Somerset House, London, of 
which he was assistant master in 1845, and 
head master in 1851. He was the master 
of. Elizabeth Thompson Butler, of Luke 
Fildes, and of W. W. Ouless. Works: Ed- 
ward IV. withheld by Ecclesiastics from 
pursuing Lancastrians into a Church, Ex- 
pulsion of Peasants from New Forest by 
William the Conqueror, portraits of Tudors 
in Houses of Parliament. 

BURCK, HEINRICH, born in Dresden, 
Nov. 27, 1850. History and genre painter ; 
pupil of Dresden Academy under Theod. 
Grosse, in Antwerp under Pauwels, and in 
Berlin under Karl Gussow ; was in Italy in 
1875-78. Works: Helgi and Sigur (1873); 
In the Abruzzi, In the Woods (1877); Per- 
seus and Andromeda (1880).—Miiller, 85. 

BURCKMAIR (Burgkmair), HANS, 
the elder, born 
in Augsburg in 
1473, died there, 
1531. German 
school ; history 
and portrait 
painter; son and 
pupil of Thoman 
B., and pupil of 
Schongauer, 
though infiu- 
enced in some respects by Diirer. Master 
of the Augsburg guild in 1498. Probably 


220 


BURCKMAIR 


visited Italy about 1507. He aimed at 
strong characterization rather than ideal 
form, and ranked among the best masters 
of his time. Works: Basilica Pictures 
(1501, 1502, 1504), Christ and Mary (1507), 
Crucifixion (1519), Battle at Cannz (1529), 
all in Augsburg Gallery ; Ursula Altar (be- 


fore 1505), Dresden Gallery ; Saints (1505), 
Madonna (1510), both in Maurice Chapel, 
Nuremberg; Madonna (1509), Museum, ib.; 
Pieta, Carlsruhe Gallery; Holy Family 
(1511), St. Ulric, St. Barbara, Berlin Mu- 
seum; John Evangelist (after 1520), do., 
and St. John Baptist (1518), Duke William 
IV. of Bavaria (1526), 

and Wife, Esther be- lo-BYRGKMAR: 
fore Ahasuerus (1528), PINGEBAT: IN° 
Old Pinakothek, Mu- AVGY STA’ 
nich ; Portrait of him- REGIA: 
self and Wife (1526), 

Vienna Museum.—All- , | © \\ a 
gem. d. Biog., ii. 576; ee 

Ch. Blanc, Ecole alle- ens 
mande; Dohme, 11; aed 
Nagler, Mon., iii. 237; Kugler (Crowe), i. 
195; Liibke, Geschichte der Renaissance in 
Deutschland, i. 55; Woltmann (Bennett), 
Holbein and his Time, 87; W. & W.,, ii. 
446; iii. 237. 

BURCKMATR, HANS, the younger, 
flourished in Augsburg until 1559. Ger- 
man school; son and pupil of Hans the 
elder. Many of the pictures and wood-cuts 
ascribed to his father, bearing a later date 
than 1531, may be works of his hand.—W. 
& W., ii. 450. 

BURCKMAIR (Burgkmair), THOMAN, 
born about the middle of 15th century, 
died in Augsburg, 1523. German school. 
The founder of a family of painters that 
flourished through several generations. 
According to his own statement in the Augs- 
burg record of painters, he became an ap- 
prentice in 1460. Figures short, flesh 
tones of a heavy brown, and outlines hard. 
Works: Christ conversing with St. Ulric, 
Virgin with St. Elizabeth (1480), Cathedral, 
Augsburg; Martyrdom of St. Stephen, St. 


Lawrence, and Scenes from the Passion, 
Augsburg Gallery.—Kugler (Crowe), i. 144; 
Schnaase, viii. 455; W. & W., ii. 116. 

BURG, ADRIAAN VAN DER, born at 
Dordrecht about 1697, died in 1737. 
Dutch school; portrait painter ; pupil of 
Arnold Houbraken, whom he accompanied 
to Amsterdam. Works: Portraits of the 
seventeen directors of the mint, Dor- | 
drecht. 

BURGER, ANTON, born in Frankfort 
in 1825. Landscape and genre painter; 
pupil at the Stidel Institute under Jakob 
Becker and Jakob Dielmann ; then for two 
years in Munich, and in 1856 in Diisseldorf ; 
visited Paris, the Netherlands, and Italy. 
Since 1857 settled at Cronberg in the Tau- 
nus. Great gold medal, Munich, 1869. 
Works: Old City, Village Street, Farm- 
house, Beer Garden, Bowling Alley, Village 
Kitchen, Two Winter-Hunts (1879).—Mil- 
ler, (So°> Aertechr ts bok xis 113: 

BURGER, LUDWIG, born in Cracow, 
Galicia, Sept. 19, 1825, died in Berlin, Oct. 
22, 1884. History painter and illustrator ; 
pupil of Berlin Academy, in 1852 of Ant- 
werp Academy, and in Paris under Couture. 
As illustrator for the Leipsic Illustrirte Zei- 
tung he visited Hungary in 1857, and 
joined the campaigns in Schleswig in 1864, 
and in Bohemia in 1866. From 1869 he 
turned to decorative painting, became mem- 
ber of the Berlin Academy, and visited 
Italy in 1872-73. Medal in Vienna, 1873 ; 
Munich, 1876. Works: Wall and Ceiling 
Paintings (1870), City Hall, Berlin ; Colos- 
sal Figures representing Military Virtues 
(1878), School of Cadets, Lichterfelde, near 
Berlin.—Illust. Zeitg., 1876, 11. 145 ; Miller, 
86. 

BURGESS, JOHN BAGNOLD, born in 
London in 1830. Genre painter; son of 
H. W. Burgess, landscape painter to King 
William IV.; pupil in London of Mr. Leigh, 
and of the Royal Academy. Draws his sub- 
jects largely from Spain and Morocco, 
which he has visited. Elected an A.R.A. in 
1877. Works: Castilian Almsgiving (1859); 


221 


BURGKMAIR 


Benighted (1860); Bravo! Toro! (1865); 
Spanish Monk (1867); Students of Sala- 
manca (1869); Gi- 
tano Rico (1872); 
Barber’s Prodigy 
(1875) ; Licensing 
Beggars in Spain 
(1877); Student in 
Disgrace (1878;) 
Convent Garden 
(1879) ; Genius of 
the Family (1881); 

} Spanish Letter- 
Writer (1892): The Meal at the Fountain 
(1883) ; Una Limosnita (1885).—Art Jour- 
nal (1880), 297 ; (1882), 136, 207. 

BURGKMAIR. See Burckmair. 

BURGOYNE, SURRENDER OF, John 
Trumbull, rotunda of Capitol, Washing- 
ton; canvas, H. 12 ft. x18 ft. General 
Gates, standing, surrounded by his officers, 
near the entrance to his marquée, declines 
to receive the sword of General Burgoyne, 
who surrendered to him at Saratoga, Oct. 
17, 1777; in distance, troops marching. 
Painted in 1817-24 for $8,000. Original 
study in Yale College Gallery. 

BURKEL, HEINRICH, born at Pirma- 
senz, Rhenish Palatinate, May 29, 1802, died 
in Munich, June 10, 1869. Genre and land- 
scape painter; pupil of Munich Academy, 
but mostly formed himself, studying and 
copying the Dutch masters in the Munich 
and Schleissheim Galleries. In 1829 he 
went to Rome, and after his return in 1832 
became popular for his humorous genre 
scenes. Was honorary member of the Mu- 
nich, Dresden,and Vienna Academies. Works: 
Peasant with upset Hay Wagon, Return from 
Bear-Hunt, Pontine Swamps, The Cam- 
pagna, Morning in Tyrol, Entry of the Best 
Shot, Muleteer’s Rest.— Kunst-Chronik, iv. 
162; Zeitschr. f. b. K., v. 161. 

BURNE-JONES, EDWARD, born in 
Birmingham, England, Aug. 28, 1833. Stu- 
dent at Exeter College, Oxford, with William 
Morris and Swinburne, the latter of whom 
dedicated to him his first volume of poems ; 


Pp 


| went to London in 1856 and became a pupil 
of D. G. Rossetti, whose manner he imitated 
for several years, but 
he soon formed a 


clining more toideal- 
ism and abstract 
beauty than to real- 
ism, and he is now 


ponents in England 

of the romantic 
school. In 1857-58 he was associated with 
Rossetti, Morris, Prinsep, and others, in 
painting the Arthurean frescos on the 
walls of the Oxford Union Debating Room. 
In 1861 he was one of the originators of 
the now well-known house of Morris & Co., 
and he has made many designs for stained 
glass windows and other decorative work. 
His studio is at the Grange, Hammersmith 
Road, in the house of Richardson the nov- 
elist. Elected an A.R.A. in 1885. Works: 
Green Summer (1863) ; Story of Dorothea 
(1866) ; Day, Night, Spring, Summer, Au- 
tumn, Winter (1867-68) ; Wine of Circe 
(1869); Phyllis and Demophoén (1870) ; 
Chant d’Amour, Love among the Ruins, 
(1873); Beguiling of Merlin, Days of Crea- 
tion, Mirror of Venus (1877); Temperantia, 
Fides, St. George, Spes, A Sibyl (1877) ; 
Luna, Pan and Psyche (1578); Story of Pyg- 
malion (4), Annunciation (1879); The Golden 
Stairs (1880) ; Danie at the Brazen Tower, 
Tree of Forgiveness, Earth, Perseus and the 


Graiz, Feast of Peleus, The Mill, Cupid’s 


Hunting Fields (1882); An Angel, Wheel of 
Fortune, The Hours (1883) ; King Cophetua 
and the Beggar Maid, Wood Nymph (1884); 
Laus Veneris.— Univ. Mag. (1879), iv. 40; 
Portfolio (1870), 17; Scribner’s Mag. (1872), 
iv. 748. 

BURNIER, RICHARD, born at The Hague 
in 1826, died at Disseldorf, March 17, 1884. 
Landscape and animal painter; studied from 
nature and after the Dutch masters, then 
from 1850 in Disseldorf under A. Achen- 
bach and Schirmer, and from 1855 in Paris 


ww 


style of his own, in- | 


one of the chief ex- 


J 
> 
‘ 


BURNITZ 


after Troyon and the French idyl-painters. | history painter ; 


He then continued his studies in Belgium 
in 1858-61, and in Holland in 1863-67, and 
settled in Diisseldorf. Member of the Am- 
sterdam Academy. Works: After the Storm 
(1857), Li¢ge Museum; Afternoon on the 
Heath (1859), Interrupted Milking (1871), 
Cows on the Strand (1872), Passing Storm 
(1873), Afternoon in the Meadow (1874), 

Autumn Morning, Evening (1874), The two 
Friends (1875), Wood Path (1876), Kunst- 
halle, Hamburg ; Wild Bull, Brussels Muse- 
um.—Miiller, 87. 

BURNITZ, KARL PETER, born in Frank- 
fort in 1824. Landscape painter, self-taught; 
was a lawyer ; went in 1850 to Paris, where 
he painted for ten years; since 1860 in Frank- 
fort. Works: Wood Landscape (1860), Stadel 
Gallery, Frankfort; Starnberg Lake (1871); 
Three Landscapes (1879).—Miiller, 87. 

BUSCH, FRIEDRICH, born in Dissel- 
dorf in 1808, died there, Jan. 6,1875. Genre 
painter ; pupil of the Diisseldorf Academy. 
Works: Spinning Maiden, Huntsman and 
his Sweetheart, Girl at the Well.—Kunst- 
Chronik, x. 236. 

BUSH, NORTON, born at Rochester, N. 
Y., in 1834. Landscape painter; pupil of 
James Harris in Rochester, and of Cropsey 
in New York. Lives in San Francisco. In 
1853, 1868, and 1875, sketched in South and 
Central America. Works: Lake Nicaragua ; 
Bay of Panama; Summit of the Sierras, 
River San Juan—Nicaragua,Crocker Gallery, 
Sacramento; Mt. Chimborazo; Volcano of 
Elmisti—Peru; Mt. Meiggs—Andes of Peru; 
Western Slope of Cordilleras ; Cordilleras of 
Ecuador. 

BUSI, LUIGI, born at Bologna in 1838, 
died there, June 2, 1884. Genre painter, pu- 
pil of Bologna Academy, studied afterwards 
in Rome, and visited Germany and France. 
Professor in Bologna Academy from 1871. 
Order of Italian Crown. Works: Tasso and 
Cardinal Aldobrandini ; Visit of Condolence ; 
Illegal Marriage; Visit to Young Mother. 

BUSS, ROBERT WILLIAM, born in Lon- 
don in 1804, died there in 1875. Genre and 


pupil of George Clint. 
Painted theatrical scenes, and executed many 
illustrations for books. His genre pictures, 
many of which were engraved, were chiefly 
humorous. Works: Christmas in Time of 
Queen Elizabeth; Wooden Walls of Old Eng- 
land; Bitter Morning; Stingy Traveller ; 
Musical Bore ; Master’s Out ; Old Commo- 
dore ; Watt's ace Experiment with Steam ; 

Introduction of Tobacco ; Soliciting a Vote ; 

Biter Bit ; Time and Tide wait for no Man. 

BUSSE, GEORG HEINRICH, born at 
Bennemiihlen, near Hanover, July 17, 1810,, 
died at Hanover, Feb. 26,1868. Landscape 
painter; first instructed in drawing by Giese- 
well in Hanover, studied engraving in Dres- 
den, and spent nine years in Italy (1835- 
1844). After his return in 1844 he began 
to paint in oil, and from 1849 exhibited 
almost every year at Hanover with distin- 
guished success. Works: Grove of Diana 
(1849); Ruins of Imperial Palace in Rome 
(1850); Monte Aventino (1852); Wood in 
Albanese Mountains (1853); Ruins at Albano 
(1855); Lago d’Agnano (1857); Ruins of 
Lambessa (1861) ; Hermit’s Rock and Har 
of Dionysius near Syracuse (1862) ; Monks: 
disputing (1862); Lago Trasimene (1863) ; 
Constantine (1865) ; Cefalt (1866) ; View 
near Athens (1867). —Allgem. d. Biggs ili. 
650 ; Andresen, i111. 230. 

BUSSON, CHARLES, born at Montoire 
(Loir-et-C her), 
July 15, 1822. 
Landscape painter; 
pupil of Rémond 


and Frangais. 


Medals: 3d class, 

1855-57-59-63-67 ; 

Ist class, 1878 ; L. eM \ 
of Honour, 1866. ZN » 
Works: View near * ‘V7 


Sassenage (1846); : 

The Loire, View in Auvergne (1852); Woods 
in Touraine, Hay (1853); Environs of Mon- 
toire (1855); Ford near Montoire (1857), 
Tours Museum; The Heath, Before the 
Storm (1859) ; Evening on the Loire, Sun-, 


BUTIN 


set, Storm on the Heaths (1863); Sunrise at | Rome. 


Sea, Evening (1864); Autumn Day, Hunting 
in the Marshes (1865), Compiégne ; Game- 
Keeper Returning (1866), Luxembourg; Un- 
derbrush (1867); Sunset (1868) ; Ruins of 
Castle of Lavardin (1869); Road near Red 
Sea (1870); Morning in Venice, Evening in 
Venice (1872); Park of Sainte-Claire (1873) ; 
Ancient Ditch of Castle of Lavardin (1874); 
After the Rain (1875); Before the Storm 
(1876) ; Village of Lavardin (1877); Old 
Weir near Montoire (1879); Old Bridge of 
Lavardin (1880); Woods of Saint-Martin 
near Montoire, A Stream (1881); Fisher- 
man’s Hut at Prazay, Ruins of Lavardin Ch. 
(1882); Before the Rain (1883).—Larousse. 
BUTIN, ULYSSE (LOUIS AUGUSTE), 
: born at St. Quen- 
tin, Aisne, in 
1838, died in 
Paris, “Dea? 79, 
1883. French 
school; Genre 
painter; pupil of 
Picot and of Pils. 
Medals: 3d class, 
1875 ; 2d class, 
1878; L. of Hon- 
Mussel-Beds at Viller- 
ville (1874) ; Saturday at Villerville (1875) ; 
Women at the Capstan (1876); Departure 
(1877); Burial of a Sailor at Villerville 
(1878), Luxembourg Museum; The Mari- 
ner’s Wife (1879) ; Votive Offering (1880) ; 
Le Départ (1881, Amsterdam Exposition, 


our, 1881. Works: 


Ulysse ulin 1385 


1883) ; Launching the Boat (1883).—Mon- 
trosier, Artistes modernes. 

BUTLER, ELIZABETH SOUTHERDEN 
THOMPSON, born at Lausanne, Switzer- 
land, about 1844. Her early life was divided 
between Italy and England; pupil of S. 
Kensington Art School, and of Mr. Standish; 
‘studied when twenty-two years old in Flor- 
ence, under Bellucci, afterward painted in 


Returned to England in 1870; ex. 
hibited in 1873 at Royal Academy a picture 

a) entitled Missing; the 
next year her Foll Call 
won for her a popu- 
larity almost without 
precedent in English 
art history. It was 
purchased by the 
Queen, and is now at 
» Windsor. 
; ENN exhibited The 28th 
- Regiment at Quatre 
Bras, in 1876 - Balaklava, ana in 1877 Return 
from Inkerman. 
married Major Wm. Francis Butler, C.B., 
aid-de-camp to the Queen. Later works: 
Listed for the Connaught Rangers, Rem- 
nants of an Army (1879) ; Scotland for Ever, 


Defence of Rorke’s Drift (1881) ; Floreat 


Etona, Charge of the Scots Greys at Water- 
loo (1882).—Meynell, 68. 

BUTTI, LORENZO, born in Austria; con- 
temporary. Marine painter of considerable 
merit, made court painter in 1847. Works: 
Stormy Sea near Malamocco (1846), Marine 
with Sirocco Effect, Vienna Museum; Agi- 
tated Sea with Vessels, Sunset at Sea, Vene- 
tians trying to set on Fire an Imperial Frig- 
ate (1851).— Wurzbach, ii. 219. 

BUTTINONE, BERNARDINO, of Trevig- 
lio, born probably before 1436, living in 
1507. Lombard school. Proper name, Ber- 
nardino Jacobi ; disciple of Vincenzo Foppa 
the elder, and partner of Zenale, whose work 
so resembles ‘his that it is hard to distin- 
suish between them. Buttinone ranked first 
in the partnership, and so was probably the 
elder. Their best common example is an 
altarpiece in San Martino, Treviglio, ordered 
in 1485. Pictures by Buttinone are a Ma- 
donna and Saints, in the sacristy of S. Am- 
brogio, Milan, do. in the Palazzo Borromeo, 
at Isola Bella, and a Virgin and Child (1454), 
in the Casa Castelbarco, Milan, very early 
work.—O. & C., N. Italy, ii. 33, 67; Calvi, 
Notizie, P. i. 103- 114; Ch. Blanc, Ecole 
milanaise ; Libke, Geass ital. Mal, i. 491. 


224 


In 1875 she 


In 1877 Miss Thompson — 


BYLERT 


BYLERT, JAN VAN, born at Utrecht, 
died there after 1669. Dutch school; genre 
painter, pupil of Abraham Bloemaert ; went 
via France to Rome, where he worked for a 
number of years; returned to Utrecht about 
1630 and became master of the guild; in 
1632 and repeatedly afterward mentioned as 
its dean. His pictures are rare. Works: 


_ Family Pictures (3), Utrecht Museum ; La- 


ban and Rachel, Young Women with Ring, 
Rotterdam Museum ; Young Woman, Cassel 
Gallery; Pancake Hater,Girl counting Money 
(1626), Girl with Zither, Brunswick Gallery; 
Family Scene, Liechtenstein Gallery, Vienna; 
St. Sebastian, Harrach Gallery, ib.—Bode, 
Studien, 170; Kramm, i. 198; Riegel, Bei- 
trige, 1. 183. 

BYSS, JOHANN RUDOLF, born at Solo- 
thurn, Switzerland, in 1660, died in Wiirz- 
burg in 1738. German school; history, land- 
scape, and animal painter; went to Italy 
about 1700, and was called to Vienna in 1704, 
by Leopold I, to paint the ceiling of the 
great audience room. Lothar Franz von 
Schénborn, Elector of Mayence, and Prince 
Bishop of Bamberg, employed him about 
1712 to paint at Castle Gaibach, and after 
the building of Castle Pommersfelden, made 
him supervisor of its picture gallery. After 
his patron’s death he lived at Wirzburg. 
Works: Allegory, Paradise (2) with many 
Birds and Animals, Pommersfelden Gallery. 
Others in Bamberg, Wiirzburg, Schleiss- 
heim, and Vienna.—Allgem. d. Biog., iil. 
679. 


ABANEL, ALEXANDRE, born at 
Montpellier, Sept. 28, 1823. Histo- 
ry, genre and portrait painter ; pupil 

of Picot; won the grand prix de Rome in 
1845 ; medal, 2d class, 1852; 1st class, 1855; 
of honour, 1865, 1867, 1878; L. of Honour, 
1855 ; Officer, 1864 ; Commander, 1884 ; 
Member of Institute, 1863. Professor in 
the Ecole des Beaux Arts. He painted pre- 
vious to 1861 in the classical style of David, 
of which no trace is visible in his later work. 


Works: Agony of Christ (1844) ; Death of 
Moses (1852), Corcoran Gallery, Washing- 
ton; Chapel-Mas- 
ter’s Window 
(1859) ; Expulsion 
from Paradise 
(1863), Maximili- 
aneum, Munich; 
Giacomina (1872) ; 
John the Baptist 


(1874) ; Apotheo- 
sis of St. Louis 
(1855), Death of 


Francesca da Ri- 
mini and Paolo Malatesta (1870), Rape of 
the Nymph, Birth of Venus (1863), Thamar 
(1875), Luxembourg ; Portia in Merchant of 
Venice (1881); Venetian Lady of 6th century 
(1882); portraits of Rouher (1861), Napoleon 
Il. (1864), Mr. Mackay (1879), and others. 
Works in United States: Lucretia and Tar- 
quinius Sextus (1877), Ruth and Boaz, Sam- 
uel Hawk Collection, New York; Shulamite 
(1876), Portrait of a Lady, Miss C. L. Wolfe, 
New York ; Florentine Poet, Desdemona, J. 


|H. Warren, Hoosac Falls, N. Y.; Flor- 


entine Poet, St. Aglaia and St. Boniface, Is- 
rael Corse, New York; Angel of the Ave 
Maria, D. T. Buzby, Baltimore; Ginevra 
Amieri, Hurlbut Collection, Cleveland; Pan- 
dora (1873), Portrait of Mlle. Nilsson, W. T. 
Walters, Baltimore ; Eve after the Fall, H. 
L. Dousman, St. Louis; Eve after the Ex- 
pulsion, S. A. Coale, St. Louis ; Penelope, 
Mrs. ©. Crocker, San Francisco ; Italian 
Maiden, Mrs. W. P. Wilstach, Philadelphia ; 
Evening Star, W. P. Bement, Philadelphia ; 
Pheedra, Mr. Leiter, Chicago; Phzedra (1880), 
J. T. Martin, Brooklyn; Magdalen at the 
Tomb, C. P. Huntington, New York ; Echo, 
C. S. Smith, New York; Samson and Deli- 
lah, Wm. Astor, New York ; Pia de Tolomei, 


Atex Capane ts7s 


W. H.Vanderbilt, New York; Birth of Venus, 
H. ©. Gibson, Philadelphia; do., J. Wolfe, 
New York; Marguérite, J. T. Raynor, New 


225 


CABANEL 


York ; Ophelia (1883), Calvin S. Brice, New 
York.—Larousse ; Claretie, Peintres (1874), 
170; Du Camp, Les B.-Arts, 32; Bruno 
Meyer, Stud. u. Krit., 75; Meyer, Gesch., 
598. 

CABANEL, PIERRE, born at Montpel- 
lier ; contemporary. History and_ portrait 
painter ; son and pupil of Alexander Cab- 
anel. Medal, 8d class, 1873. Works: 
Flight of Nero (1873); Death of Abel (1874); 
Nymph surprised by Satyr (1875); Shipwreck 
on Coast of Brittany (1877); Mowers (1878); 
Italians in Paris (1879); Prodigal Son 
(1880); Young Neapolitan Girl (1881); Bet- 
tina (1882); Chiffonniers (1884). 

CABAT, LOUIS, born in Paris, Dec. 24, 
1812. Landscape painter, pupil of Camille 
Flers; first exhibited in 1833. Medals: 
2d class, 1834; 3d class, 1867; L. of Hon- 
our, 1843; Officer, 1855; Member of In- 
stitute, 1867; Director French Academy at 
Rome, 1879. Works: View of the Bouzanne, 
Mill of Dompierre, Tavern of Montsouris 
(1833) ; Garden of Beaujon, Pond at Ville 
d’Avray, Woods of Fontenay-aux-Roses, 
Village of Sarasin, Farmhouse in Calvados 
(1834); Wolf's Gorge, Tavern on the Bou- 
zanne, Festival of Virgin on the Water, 
Bird Catcher (1835); Plain of Arques 
(1836); Forest of Fontainebleau (1837); 
Road in Valley of Narni, View of Lake 
Nemi, Good Samaritan, Young Tobias 
(1840); Lake Bolsena, Pond of Penguins 
(1848) ; Autumn Evening (1852); The Ar- 
ques, Hunting Boars, Sunset (1853); Ravine 
of Villeroy (1855); The Seine, Ile de Crois- 
sy (1856); Pond in the Woods (1859); Lake 
Nemi, Spring in the Woods (1864); Soli- 
tude (1865); Huntresses, Woods of Chante- 
loube (1867); After the Shower (1869); 
Stormy Weather (1872); Pond, Sunset 
(1873); Morning after Shower, Morning in 
Park of Moonee (1877).—Larousse ; Cla- 
retie, Peintres (1874), 294; Meyer, Gesch., 
743. 

CADORE, BATTLE OF, Titian, former- 
ly in Hall of Great Council, Palazzo Ducale, 
Venice ; canvas. 


Battle at a bridge span- | 


ning a stream ; in sight of the Castle of Ca- 
dore, where the troops of the Emperor 
Maximilian were defeated by the Venetians. 
Painted in 1537; burned in the fire of 
1577, and known only through a contempo- 
rary print by Fontana, a sketch on canvas 
attributed to Titian, in the Uffizi, and a 
drawing of the principal group by Rubens. 
—Vasari, ed. Mil., vii. 489; ©. & C., Titian, 
ii. 5 ; Gilbert, Clason 154, 

CARSAR, DEATH OF, Vincenzo Camuc- 
cint, Palazzo Reale, Naples ; canvas. Attacked 
by the conspirators in the Senate House, 
Cesar, stretching his left hand toward Bru- 
tus, is falling at the base of Pompey’s 
statue ; at right, affrighted senators starting 
from their seats.—Réveil, xiv. 942. 

By J. D. Court, Louvre, Paris; canvas, 
H. 14 ft. x17 ft... Mark Antony haranguing 
the populace over the dead body of Cesar ; 
in foreground Brutus and Cassius. Salon, 
1827. Formerly in Luxembourg. — Cat. 
Louvre. 


By Jean Léon Géréme, J. J. Astor, New | 


York; canvas, H. 3 ft.x5 ft. The dead 
body of Ceesar lying at the foot of Pompey’s 
statue in the Senate Chamber, the seats of 
which have just been vacated by the flying 
Senators, one only remaining in his place as 
if in silent protest ; in the background, the 
conspirators brandishing their daggers as 
they repeat the oath which binds them. 
Painted in 1867, bought by John Taylor 
Johnston ; at his sale (1876), $8000. Life- 
size study of dead Cesar (H. 7 ft. 2 in. 
x10 ft. 5 in.), in Corcoran Gallery, Wash- 
ington. Engraved by J. C. Armytage in 
Art Journal (1874), 68; Art Treasures of 
America, ii. 3. 

By Karl von Piloty, Munich Gallery. 
Brutus kneels and presents the petition, 
while the other conspirators crowd around 
Cesar, who is seated in the Senate Chamber 
at the base of Pompey’s statue ; one, stand- 
ing behind, is about to strike with his dag- 
ger. Engraved by Alex. Becker. Small 
study in colour, D. H. McAlpine, New 
York. 


226 


a 


CASAR 


CASSAR, TRIUMPH OF, Mantegna, 
Hampton Court ; tempera on twilled linen ; 
9 pictures, each 9 ft. sq.; not properly car- 
toons, but intended to be stretched on 
frames and affixed to the wall as a frieze, in 
a continuous procession 81 ft. long, as now 
arranged. Represent a grand triumphal 
procession of Roman soldiers, captives, and 
spoils ; lastly Caesar in a splendid car, with 
a sceptre in his right hand and a palm 
branch in his left. Painted in 1485-92 for 
Francesco Gonzaga, Marquis of Mantua, to 
decorate the palace of St. Sebastian. Bought 


\ 
i 
f Jia 
i} 
| SF Wi LA 
~ Ali 4) 
/ tj ys 
iY af ie \ 
a 3 > My } 
y ) = DW CLAS 
& we ‘\ 
(LZ ia 2 
fl 
7 


352, 855 ; Passavant, Kunstreise durch Eng. 
land (London, 1883), 189. 

CASSARS, TWELVE, Titian, originals 
lost(?). Twelve canvases, eleven by Titian 
and one by Giulio Romano, painted in 1537- 
38 for Federico Gonzaga, Duke of Mantua. 
In Sala di Troja in Castle of Mantua till 
1628, when sold by Vincenzo Gonzaga to 
Daniel Nys, who shipped them to England ;. 
in collection of Charles I. till 1636, when 
presented to the Spanish ambassador in 
London ; further history lost. Bernardino 
Campi made five copies in 1562, one of 


Death of Caesar, Camuccini, Palazzo Reale, Naples. 


in 1628 by Charles I. together with statues 
and other pictures, for £10,500, and placed 
in Hampton Court. Valued at £1000 in 
1651, but reserved by Cromwell and not 
sold, as often stated. They are now greatly 
dilapidated. ‘Tapestries were wrought from 
these designs. Three of the series are at 
Boughton, Duke of Buccleuch. Other sets 
mentioned in the catalogue of effects of 
James IL.—C. & C., N. Italy, i. 404; Waa- 
gen, Art Treasures, ii. 410; Sainsbury, 
Orig. Papers, 321; Law, Hist. Cat. Hamp- 
ton Court, 256; Evelyn, Diary, June 9, 
1662; Geo. Scharf, Hist. of Old London, 


| 


which, formerly in Palazzo del Vasto d’Ava- 
los, is now in the Naples Museum. Copies. 
by Agostini Carracci were in Palace of Par- 
ma till 1734. Engraved by Sadeler.—Va- 
sari, ed. Mil., vii. 442; Gaye, Carteggio, i1. 
264; Waagen, Treasures, i. 313, ii. 443; 
Or& C. Titian, 1,:420, 

CAGLIARI (Caliari)) BENEDETTO, 
born in Verona in 1538 (?), died in 1598. 
Venetian school ; brother of Paolo Veronese, 
and his assistant in many of his works. 
After his brother’s death he continued to 
paint, showing himself a faithful imitator of 
Paolo’s manner, but he did not rise above 


227 


CAGLIARI 


mediocrity. His Last Supper and his 
Christ before Pilate are in the Venice Acad- 
emy. Benedetto, whose specialty was archi- 
tecture, was the principal painter of the 
architectural backgrounds in many of Pao- 
lo’s pictures.—Ch. Blanc, Ecole vénitienne ; 
Bernasconi, Studii, 336 ; Wornum, Epochs, 
264. 

CAGLIARI, CARLO (Carletto), born 
in 1570, died in 1596. Venetian school ; 
elder son and pupil of Paolo Veronese, 
who, for fear that he would be but an 
imitator of his manner, sent him to study 
with Jacopo Bassano. After his father’s 
death (1588), Carletto finished several works 
left incomplete by him, and he had begun 
to give promise of a great career when he 
died at the age of twenty-four. He worked 
generally in collaboration with his younger 
Brother Gabriele (born 1568, died 1631), 
and his uncle Benedetto. Several examples 
by him are in the Venice Academy ; works 
executed in collaboration are in the Palazzo 
Ducale and in several churches in Venice, 


lavlo. Catbtare 


verorese of: 


Vicenza, Murano, Brescia, and Treviso.— 
Ch. Blanc, Ecole vénitienne ; Baldinucci, ii. 
321; Burckhardt, 750; Seguier, 34; Ber- 
nasconi, Studii, 337. 

CAGLIARI, PAOLO. See Veronese. 

CAGNACCI, GUIDO CANLASSI called, 
born at Castel S. Arcangelo in 1601, died in 
Vienna in 1681. Bolognese school, pupil 
of Guido ; painted historical subjects in his 
master’s style, exaggerating a little his soft- 
ness and affectation. His later pictures are 
inferior in colour to his earlier ones. He 
died in the service of the Emperor Leopold 
I. Examples : Tarquin and Lucretia, Accad. 
di 8. Luca, Rome ; Assumption of the Mag- 
dalen, Pitti; Jupiter and Ganymede, Uffizi ; 
Sibyl, Borghese, Rome ; St. John the Bap- 
tist, Louvre ; Jacob and Laban, Liechten- 


stein Gallery, Vienna; Magdalen, St. Jerome, 
Death of Cleopatra, Vienna Museum ; As- 
sumption of the Magdalen, Hermitage, St. 


Petersburg.—Malvasia, ii. 58; Lanzi, iii. 


102; Ch. Blane, Ecole bolonaise. 


CAIN, Fernand Cormon, Luxembourg 


Museum; canvas, H. 12 ft. 7 in. x 23 ft.. 


The first murderer, pale and haggard, fol- 


lowed by his children covered with the skins — 


of beasts, and bearing their mother on a lit- 
ter, flees, in the midst of storms, from before 
Jehovah (Victor Hugo).—Salon, 1880. 

CAIN AND ABEL, SACRIFICE OF, 
Raphael (2), Signor Enrico Basseggio, Rome ; 
wood, H. 84 in. x13%in. Abel kneeling on 
left beside an altar with hands raised in 
prayer as he sees a flame descending from 
heaven and firing the wood; Cain, on the 
opposite side, vainly trying to blow his wood 
into a blaze ; a club in foreground prefigures 
the fratricide. Painted in Perugia in 1504— 
05 (?). Said to have been in Aldobrandini 
collection, Rome; later, in this century, in 
possession of Mr. Emerson, London. Panel 
injured.—C. & C., Raphael, i. 202; Passa- 
vant, 11. 815. 

CAJESI See Cazes. 

CALABRESE, IL CAVALIERE, born at 
Taverna, Calabria, 
Feb. 24, 1613, died 
in Malta, Jan. 13, 
1699. Neapolitan 
school; real name 
Mattia Preti; pupil 
of Lanfranco in 
Rome, according to 
Baldinucci, and of 
Guercino in Cento, 
according to Dom- 
enici. He studied the great masters in most 
of the cities of Italy, and visited France, 
Spain, and Flanders, and finally Malta, where 
he executed many works. Generally chose 


226 


, 


CALABRESE 


gloomy subjects, such as martyrdoms and 
death scenes. He had a fertile invention, 
and his compositions are effective, but his 
design is not always correct, and his chiaro- 
scuro is marked by the strong contrasts 
seen in the works of Guercino and Caravag- 
gio. Among his works are: Frescos in choir 
and cupola of the Carmine, Modena ; His- 
tory of Pope Celestine V., and St. Catherine, 
Transept of S. Pietro a Majella, Naples; Re- 
turn of the Prodigal Son, Naples Museum ; 
A Concert, Palazzo Doria, Rome.—Lanzi, 
ii. 47; Ch. Blanc, Ecole napolitaine ; Se- 
guier, 158; Burckhardt, 790, 798, 800, 803. 

CALABRESE RINGENTILITO. See 
Solimena, Francesco. 

CALAIS GATE, Wm. Hogarth, C. F. H. 
Bolckow, Marton Hall, Middlesborough, 
England. Original title, The Roast Beef of 
Old England. Painted by 
Hogarth as a satire on the 
French in retaliation for his 
arrest and deportation to 
England. A French soldier 
is arresting the artist while 
sketching Calais gate; in 
centre a French cook stag- 
gers under an immense 
piece of beef, just landed 
from a British packet, and 
directed to Madame Grand- 
sire, the hotel-keeper in 
Calais affected by the Eng- 
lish of the day; a well- 
fed monk (portrait of Pine, 
the engraver) blesses it, 
while several half-starved 
soldiers look wistfully 
on. Painted in 1748, en- 
eraved in 1749. Bought by Earl of Charle- 
mont.—Athen., Jan., 1875, 55; Cunning- 
ham ; Dobson, 68. 

CALAIS PIER, Joseph M. W. Turner, 
National Gallery, London ; canvas, H. 5 ft. 7 
in. x7 ft. 10 in. The eastern jetty of the 
harbour; French fishermen preparing for 
sea; the English packet arriving. Royal 
Academy, 1803; bequeathed by Turner. En- 


graved by T. Lupton, J. Cousen ; Etched by 
S. Haden.—Hamerton, Life ; Cat. Nat. Gal. 
CALAME, ALEXANDRE, born at Vevay, 
May 28, 1810, died WES 
at Mentone, March S 
19, 1864. lLand- 
scape painter ; pu- 
pil in Geneva of 
Diday, whom he 
succeeded as head 
master of the art 
school. He was 
one of the best 
landscape painters 
of his day, and the best depicter of Alpine 
scenery. Visited Germany and the Nether- 
lands in 1839, England in 1840, France in 
1842, and Italy in 1845. Medals: 2d class, 
1839; 1st class, 1840; L. of Honour, 1842, 


Calais Gate, Hogarth. 


Member of St. Petersburg and Brussels 
Academies. Works: Mont Blanc, Jungfrau, 
Lake of Brienz, Pass of Monte Rosa, Pass of 
Monte Cerino, Handeck Falls, Bernese Ober- 
land (1838-44); Ruins of Pestum, Storm 
in Woods, Leipsic Museum; Noonday in 
Summer, Autumn Evening, Night in Win- 
ter; The Four Seasons, Geneva Museum ; 
The Four Divisions of the Day, Lake of the 


229 


CALAME 


Four Cantons (1842), Schreckhorn and 
Wetterhorn, Basle Museum ; Waterfall near 
Meyringen, Berne Gallery; Lake of Lu- 
cerne (1853), Mountain Valley (1865), Ber- 
lin Museum.—Ch. Blane, Ecole allemande ; 
Brockhaus, iii. 826; Meyer, Conv. Lex. 
(1875), iv. 78; Larousse. 

CALAME, (JEAN BAPTISTE) ARTHUR, 
born in Geneva in 1843. Landscape paint- 
er; son and pupil of Alexandre, and in 
1864-66 at the Diisseldorf Academy under 
Oswald Achenbach; travelled in Italy, and 
paints chiefly Italian landscapes and marine 
subjects. Works: Harbour on Mediterra- 
nean, Coast after Storm, Bay of Naples, Lake 
Lucerne, Coast of Bordighera.—Miiller, 91. 

CALATES, painter of comic subjects in 
little, lived soon after time of Alexander.— 
Pliny, xxxv. 37 [114]; R.-R., Schorn, 240. 

CALCAR, JAN VAN. See Kalkar, Hans 
von. 

CALDARA, POLIDORO. 
gio, Polidoro da. 

CALDERON, PHILIP HERMOGENES, 

#3 born at Poitiers, 
France, May 3, 1838. 
Subject and portrait 
painter, of Spanish de- 
scent; pupil of J. M. 
Leigh, London, in 
S 1850, of Picot, Paris, 
Kivi in 1851-52, and of 
| Yj) Leigh again in 1853- 
7 54. Exhibited first 
picture, By the Waters of Babylon, at Royal 
Academy in 1853. Elected an A.R.A. in 
1864, and R.A. in 1867. Other works: 
Broken Vows (1857); Gaoler’s Daughter 
(1858); Nevermore (1860); Demande en 
Mariage, Releasing Prisoners on the Young 
Heir’s Birthday (1861); After the Battle 
(1862); British Embassy in Paris on Night 
of St. Bartholomew (1863); Her Most High, 
Noble, and Puissant Grace (1866); Home 
after Victory (1867) ; Young Lord Hamlet, 
Cinone (1868); Sighing his Soul into his 
Lady’s Face (1869); Spring petting Winter, 
Catherine de Lorraine and Jacques Clément 


See Caravag- 


(1870); The New Picture (1871); Good 
Night, Moonlight Serenade (1873) ; Queen 
of the Tournament (1874); Toujours Fidéle 
(1875); His Reverence (1876); Joan of Are, 
Constance (1877); La Gloire de Dijon (1878); 
Summer Breezes, Twilight (1879); The 
Olive, The Vine, Captives of his Bow and 
Spear (1880); Flowers of the Earth (1881); 
Dymphna, Faithful Heart, Joyous Summer 


(1883); Morning (1885).—Meynell, 235; 


Portfolio (1870), 97. 

CALIARI. See Cagliari. 

CALIGULA’S PALACE AND BRIDGE, 
Joseph M. W. Turner, National Gallery, 
London ; canvas, H. 4 ft. 8 in. x8 ft. 2 in. 
Caligula, to confute a prophecy of Thrasyl- 
lus—that he would no more be emperor than 
he could drive his chariot over the Bay 
of Bais — built a bridge of boats from 
the mole at Puteoli across the bay, about 
three Roman miles, and rode and drove 
over it. Turner has assumed that the 
bridge was constructed on arches. 
left are magnificent ruins of Caligula’s pal- 
ace, with the bridge across the bay in the 
middleground ; on the right, in distance, 
Baise. Royal Academy, 1831. Engraved by 
E. Goodall in Turner Gallery. 

CALISTO DA LODI. See Piazza. 

CALLCOTT, Sir AUGUSTUS WALL, 
born at Kensing- 
ton, Feb. 20, 1779, 
died there, Nov. 
25, 1844. Choris- 
ter boy for several 
years in Westmin- 
ster Abbey ; pupil 
of John Hopp- 
ner; became a 
portrait painter, 


and executed many figure pieces, such as. 


Raphael and the Fornarina (1837), and Mil- 
ton with his Daughters (1840). But it is as 
a landscape painter that he will be chiefly 
remembered. As such, he ranks among the 
best contemporaries of Turner and Con- 
stable, though he stands at a respectful dis- 
tance from either in point of originality and 


230 


On the | 


ee ee ee ee ee ee ne een Oe 


CALLET 


genius. The surname of the English Claude 
which has been given to him, and the large 
prices obtained for his landscapes since his 
death, as, for instance, £3,097 and £514 paid 
in 1863 at public sales, prove the esteem 
felt for his works, in which English scenery 
is treated with unaffected truth to nature. 
Callcott became an A.R.A. in 1806, and R.A. 
in 1810; he was knighted in 1837, and in 
1644 he was appointed conservator of the 


; y =\ | /; >), : 
? GY Bo : | | Vase \W N Z 
NK Fp i eammseioas Vi { OA f ft Y 
y > Cx ec Y AW 


ra ed 
= =e 


LS 


EJs 


SSSA : 
“amped Sta Tl AN? ZY 
= E 'y 
SS ae LSDY 
= = f~ adi 


= 
nr 
—r{}? LIS 
]] 
[} ) v3 
iw, ay SS) 
y 


AW it 


Vie" 


EE aE ae 


ea {SNS ! 
eae ~~) 
hint 


school ; history and portrait painter; ob- 
tained the first prize in 1764 for his Cleobis 
and Biton, now in the Ecole des Beaux 
Arts, and became member of the Academy 
in 1780. Painted many allegorical and 
mythological as well as modern historical 
subjects. Works: Winter or Saturnalia 
(1783), Spring or Worship of Juno Lucina 
(1791), Summer or Féte of Ceres (1789), 
Autumn or Féte of Bacchus (1787), all in 
a 
x \\) 


| 


7 ane 


NES 
\ 


rh iS 


Calumny, Botticelli, Uffizi, Florence. 


royal pictures. The following pictures by 
him are in the National Gallery: Returning 
from Market (1834), Coast Scene, Landscape 
with Cattle, Wooden Bridge, Benighted 
Traveller, Old Pier at Littlehampton (1812), 
Entrance to Pisa 
from Leghorn 
(1833), Dutch Fer- 
ry (1834), View on 
Coast of Holland.—Cat. Nat. Gal.; Art Un- 
ion Journal, 1845; Art Journal (1856), 9; 
Ch. Blanc, Ecole anglaise ; Sandby, i. 334. 

CALLET, ANTOINE FRANCOIS, born 


MWC: 


Louvre.—Wiirzbach, Mal. d. xvii. J., 10; 
Villot, Cat. Louvre. 

CALLICLES, Greek painter, mentioned 
by Pliny (xxxv. 37 [114]) as having exe- 
cuted some small pictures. Perhaps same 
painter spoken of by Varro (Fragm., p. 236 
Bip.).—Brunn, ii. 260. 

CALLIPHON, painter, of Samos, date 
uncertain. Painted episodes of Trojan war 
on walls of Temple of Diana, Ephesus.— 
Pausan. v. 19, 1; x. 26, 127; Brunn, 1. 56. 

CALLISTO. See Diana and Callisto. 

CALLOT, GEORGES, born in Paris ; 


in Paris, 1741, died there in 1823. French' contemporary. History and portrait painter, 


231 


CALUMNY 


pupil of Eugéne Adan. Medal, 3d class, 
1882. Works: The Chase (1879); Twilight 
(1882); The Doves, Portrait (1883); Infancy 
of Orpheus (1884); Diana (1885). 

CALUMNY, picture. See Apeiles. 

CALUMNY, Sandro Botticelli, Uffizi, 
Florence ; wood, figures full length, small. 
A magisterial person, seated at right, at- 
tended by Ignorance and Suspicion, stretches 
out his hand to Calumny, who holds in one 
hand the torch of discord, and with the 
other drags Innocence by the hair; she is 
preceded by Envy and attended by Intrigue 
and Treachery ; behind her, Repentance, 
clothed in black, is covered with confusion 
at the sight of Truth. Painted about 1485 
from Lucian’s description of Apelles’ picture. 
Given by Sandro to his friend, Fabio Seeni. 
—Vasari, ed. Mil. ili. 324; ©. & C,, Italy, 
ii, 422; Molini, Gal. de Firenze, i. 159: 
Lasinio, i. Pl. 41. 

By Federigo Zucchero, Hampton Court ; 
tempera on canvas, H. 4 ft. 8 in. x 7 ft. 8 in. 
Probably a rendering of Lucian’s descrip- 
tion of the celebrated picture by Apelles, 
While employed in the Vatican, Zucchero 
had a difference with the Pope’s officers, and 
in revenge painted this picture, in which 
he represented those who had offended him 
decorated with asses’ ears. The Pope’s dis- 
pleasure was the cause of Zucchero’s de- 
parture from Rome. Originally in posses- 
sion of Duke Orsini di Bracciano ; perhaps 
found its way to England in Duke of Man- 
tua’s collection, bought by Charles I. in 
1628.—Law, Hist. Cat. Hampton Court, 140. 

CALVAERT (Caluwaert), DENIS, born 
in Antwerp about 1540, died in Bologna, 
April 16, 1619. Flemish-Bolognese school ; 
called by the Italians Dionisio Fiammingo 
(the Fleming). Pupil of Christiaan Queck- 
borne ; was a good landscape painter when 
he removed to Bologna, where he studied 
figure-painting under Prospero Fontana 
and Lorenzo Sabbatini. He accompanied 
the latter to Rome, and aided him in the 
Vatican. On his return to Bologna he es- 
tablished a school, and had among his pupils 


v 


Guido, Domenichino, and Albani. He was 
a good designer, but mannered in style. 
His pictures are chiefly in Bologna, in S. 
M. de’ Servi, S. Petronio, 8. Gregorio, S. 
Giacomo Maggiore, and other churches. 
Works: Assumption, Uffizi, Florence ; 
Transfiguration, Parma Academy ; Mary 
Magdalen borne to Heaven by Angels, 
Turin Gallery ; male portrait, Vienna Mu- 
seum.—Biog. nat. de Belgique, iii. 258; 
Ch. Blane, Ecole bolonaise ; Fétis, Les Ar- 
tistes belges 4 l’étranger, ii. 151; Michiels, 
vi. 3; Rooses (Reber), 104. 

CALVARY. See Christ on Calvary. 

CALVARY, PROCESSION TO, Pierre 
Mignard, Louvre ; canvas, H. 5 ft. x6 ft. 6 
in.; signed, dated 1684. Christ, in centre, has 
fallen under the weight of the cross, which 
Simon of Cyrene and others are carrying, 
preceded and followed by soldiers and rab- 
ble, up the mountain ; in foreground, left, 
the Virgin, Magdalen, and St. John ; right, 
women and children. Painted for M. de 
Seignelay, and passed to Louis XIV. En- 
graved by G. Audran ; Landon.—Réveil, ix. 
629. 

By Rubens, Brussels Museum ; canvas, H. 
15 ft. 8 in.x11 ft. 3 in. The Saviour, in 
grey vest and scarlet mantle, in centre, 
bending under weight of the cross, which a 
man, assisted by Simon of Cyrene, is remoy- 
ing from his back ; the Magdalen, kneeling, 
is wiping his brows with a napkin ; behind 
her, the wife of Cleophas, with two children, 
and the Virgin, supported by St. John; at 
left, another woman with an infant in her 
arms ; below, the two thieves, with hands 
bound, guarded by soldiers; in front, three 
horsemen and others indicated by spears 
and banners. One of Rubens’s grandest 
compositions, but now much deteriorated. 
Painted for the abbey church of Affleghem, 
for 1,600 florins, the work occupying sixteen 
days. Engraved by P. Pontius; Ragot ; 
and with variations by Monaco. Sketch in 
Amsterdam Museum.—Smith, ii. 56. 

By Tintoretto, Scuola di 8. Rocco, Venice ; 
canvas, Troops and attendants climbing 


232 


CALVI 


Calvary by a winding path ; Christ in centre 
bearing the cross, the two malefactors being 
on the nearer path. A strong and effective 
picture.—Ruskin, Stones of Venice, iii, 353. 

By Tintoretto, Vienna Museum ; canvas, 
H. 2 ft. 4 in. x2 ft. Tin. Christ falling un- 
der the weight of the cross, with Simon of 
Cyrene aiding him; behind, the Virgin, Mary 
Magdalen, and St. John; in front the two 
thieves, bound; soldiers, mounted and on 
foot, and rabble.—Gal. de Vienne, i. Pl. 48. 


ae 
cS 

oho Z 

~ 


a 


Ruskin, Mod. Painters, v. 230; Ridolfi, Ma. 
rav., 1. 57. 

Subject also treated by Pieter Brueghel, 
the younger, Berlin Museum. 

CALVI, LAZZARO, born in Genoa in 
1502, died there in 1587. Genoese school; 
son of Agostino Calvi, a respectable painter 
of Lombard origin; pupil of Perino del 
Vaga at same time with his elder brother, 
Pantaleo Calvi (died 1595). The brothers 
painted much in collaboration in Genoa, 


a 


7 
CAS wansuis 


Bh 
Gye 


see ke 
ferns 


> a be § ENTS yy 4 
etettat TL Se 
| why aa 
ate PEM. 


es 


os 
6 i \ 
Gi, we 
= a a ae 


Procession to Calvary, Mignard, Louvre. 


By Paolo Veronese, Dresden Gallery ; can- 
vas, H. 5 ft. 8 in. x14 ft.6 in. Christ falling 
under the weight of the cross, which he is 
carrying amid a troop of mounted men and 
rabble ; St. Veronica, with her handkerchief, 
thrust back by one attendant and struck at 
with a knotted cord by another, is trying to 
reach him; behind, the Virgin, fainting, is 
sustained by St. John, a portrait of Veronese. 
From the Modena collection. Restored by 
Schirmer in 1857. Engraved by Mitelli; 
Preisler.—Gal. royale de Dresde, 1. Pl. 16; 


Naples, and other places, Lazzaro painting 
the principal parts and Pantaleo the orna- 
mental portions. Lazzaro, vain and envious, 
depreciated the works of others, and even 
resorted to poison to rid himself of rivals. 
Defeated in competition with Andrea Semini 
and Luca Cambiaso, he gave up painting 
and led a seafaring life for twenty years, but 
finally returned to his profession. Among 
his best examples are: Phaeton, Apollo, etce., 
ceiling of hall, Palazzo Grimaldi, Genoa ; 
Glory of Saints, choir 8S. Catterina, Genoa. 


233 


CALVI 


—Soprani, 71; Baldinucci, u. 148; Lanzi, 
iii. 242; Burckhardt, 759; Ch. Blane, Ecole 
genoise. 

CALVI, POMPEO, born at Milan in 1806. 
Landscape and architecture painter ; pupil 
of Mighara. Works: Old Fish Market in 
Rome (1834), Interior of Monza Cathedral 
(18388), Vienna Museum.— Wurzbach, ii. 
243. 

CALYPSO, pictures. See Jrene, Nicias. 

CAMBIASO, GIOVANNI, born in the val- 
ley of Polcevera, near Genoa, in 1495. Gen- 
oese school; pupil of Antonio Semini, but 
imitated Perino del Vaga and Pordenone. 
Painted chiefly in fresco. "Was the master 
of his son Luca.—Soprani, 17; Baldinucci, 
ii.174; Ch. Blane, Ecole génoise, Luca Cam- 
biaso. 

CAMBIASO, LUCA, born at Moneglia, 
Oct. 18, 1527, died 
at the Escorial, 
Spain, 1585. Geno- 
ese school. Some- 
times called Luchet- 
to da Genova. Son 
and pupil of Giovan- 
ni Cambiaso; _ be- 
came his father’s as- 
sistant when fifteen 
years old, and was 
selected when seventeen to paint the ceiling 
of the great hall in the Palazzo Doria. His 
early works border on the gigantesque and 
suggest study of Michelangelo, but he modi- 
fied his style at a later period. He painted 
both in oil and in fresco, and such was his 
fruitfulness of invention and facility of exe- 
cution that he seldom made sketches for his 
works. His reputation reached foreign coun- 
tries, and in 1583 he was invited to Spain by 
Philip IL, who made him court painter and 
gave him a pension of 500 ducats. Cambia- 
so executed many works in the Escorial, the 
most celebrated being the Paradise or As- 
semblage of the Blessed, on the ceiling of 
the church of the Escorial, for which he was 
paid 12,000 ducats. Of his oil pictures the 
best are: Madonna and Saints, Duomo, 


Genoa; St. Gottardo with Apostles and Do. 
nors, ib.; Madonna and Saints, Palazzo Ador- 
no, Genoa ; Madonna and Child, Uffizi ; En- 
tombment, S. M. di Casignano, Genoa ; two 
mythological pictures, Palazzo Borghese, 
Rome; double portrait of the painter and 
his father, Palazzo Spinola, Genoa ; Martyr- 
dom of St. George, 8. Giorgio, ib.; Rape of 
Sabines, Palazzo Imperiale, Terralba, near 
Genoa. Luca had a son, Orazio, who aided 


him in the Escorial. Philip IL. continued — 


to employ 
/ e e him after 
Cana S & his father’s 


death, but he returned to Genoa in the fol- : 


lowing year.—Soprani, 35, 51; Lanzi, iii. 
244; Seguier, 35; Burckhardt, 760; Ch. 
Blane, Ecole génoise. 

CAMBON, ARMAND, born at Montauban 


(Dréme) ; contemporary. French school ; 


genre and portrait painter, pupil of Paul 
Delaroche and of Ingres. Medals: 2d class, 
1863; 3d class, 1873. Works: Morning and 
Evening of Life (1874) ; Echo and Narcissus 
(1875); Roland fighting the Ork in Defence 
of Olympia (1876); Alcinia and Roger (1880); 
Spring Time of Life (1882). 

CAMBYSES AT PELUSIUM, Paul Le- 
notr, Charles Crocker, San Francisco. Tllus- 
tration of the story narrated by Polyzenus 
(vii. 9), that the Persian monarch captured 
Pelusium almost without resistance from 
the Egyptians, whose religious fears were 
aroused by their being assailed with sacred 
cats. Painted in 1867. Photogravure in 
Art Treasures of America.—Art Treas. of 
Amer. iii. 43. 

CAMERLINGHL 
Camerlinghi. 

CAMILO, FRANCISCO, born in Madrid 
in 1635, died there in 1671. Spanish school; 
son of Domingo Camilo, a Florentine settled 
in Madrid, whose Spanish widow married 
Pedro de las Cuevas ; pupil of his stepfather; 
painted frescos in the palace of Buen Retiro 
and religious subjects for the convents of 
Madrid, Toledo, Alcala, and other places. 
Best work,Communion of St. Mary of Egypt, 


See Madonna with the 


234 


ee ee eee 


esi. 


i eo pete tes 


alr od i ek. ain 


CAMINADE 


church of the Capuchins, Alcala de Henares. 
—Stirling, 11. 714 ; Viardot, 275. 

CAMINADE, ALEXANDRE FRANCOIS, 
born in Paris, Dec.14,1783, died there in May, 
1862. History and genre painter, pupil of 
David and Mérimée. Medals: 2d class, 
1812; 1st class, 1831; L. of Honour, 1833. 
Principal works: Flight into Keypt, Marriage 
of the Virgin, Adoration of the Magi, St. 
Etienne du Mont; The Levite of Ephraim, 
Entry of French into Antwerp, Versailles ; 
St. Theresa receiving the Last Sacrament, 
Notre Dame de Lorette.—Larousse. 

CAMINO, GIUSEPPE, born in Turin, 
Oct. 29, 1819. Italian school; landscape 
painter, self-taught, studying nature and 
after old masters ; lived for several years in 
Rome and other cities of Italy, visited Paris 
and London, and settled at Turin, where he 
became professor at the Academy in 1854. 
Works: Primeval Forest; Storm in the 
Campagna; Glacier of the Mont-Blanc; 
Pictures in Museo Civico, Turin.—Miiller, 
93. 

CAMPAGNOLA, DOMENICO, born in 
Padua about 1490 (?) died after 1564. Ve- 
netian school ; related to Giulio Campagnola, 
but not his son, as is generally said. First 
taught by Giulio, afterward pupil of Titian, 
and his assistant (1511), at Padua and Vi- 
cenza. Probably accompanied Titian to 
Venice, and lived there awhile. Most of his 
works, both in oil and fresco, are in Paduan 
churches. His frescos in the Scuola del 
Santo almost rival those of Titian in the 
same place. Four pictures of Prophets in 
Venice Academy ; David, Palazzo Manfrini ; 
St. Michael and Lucifer, S. Cristoforo e 
Michele, Venice. Had a brother, Francesco, 
also a painter. Domenico was also a fine 
engraver.—Vasari, ed. Mil., ii. 385, 639 ; 
Ch. Blane, Ecole vénitienne ; C. & C., Titian, 
i. 127, 182, 140; Gaz. des B. Arts (1864), 
xvii. 456, 536; Lanzi, ii. 94; Bartsch, xii. 
377. 

CAMPAGNOLA, GIULIO, born in Padua 
about 1480 (?), died after 1513. Lombard 
school ; son and pupil of Girolamo Campa- 


gnola, a noted scholar who had studied paint- 
ing under Squarcione’; painted miniatures 
and several altar-pieces, but best known as 
an engraver. Invited in 1498 to court of 
Hercules I, Duke of Ferrara.—Vasari, ed. 
Mil., in. 385, 639; Lanzi, u. 177; Ch. 
Blanc, Ecole vénitienne ; Gaz. des B. Arts 
(1862), xiii. 332 ; Bartsch, xiii. 368. 
CAMPANA, PEDRO, born in Brussels in 
1503, died there in 1580. Spanish school ; 
real name said to have been Pieter Van de 
Velde. After spending many years in study 
in Bologna and Rome, went about 1547 to 
Seville, where with Louis de Vargas and 
Torregiano he opened an academy, and 
painted for the church of Santa Cruz his 
famous Descent from the Cross (1548), now 
in the Cathedral, which was a favourite 
study of Murillo. Other works in Seville 
churches.—Stirling, i. 123; Ch. Blanc, 
Ecole espagnole ; Cean Bermudez. 
CAMPHAUSEN, WILHELM, born in 
Diisseldorf, Feb. 
8, 1818, died 
there, June 18, 
1885. History 
and genre paint- 
er, pupil of Diis- 
seldorf Academy 
under Rethel, - 7 
Sohn, and Schad- / 
ow; one of al 
foremost patie 
of battles and 
military life. In 1843-45 he visited Hol- 
land, Belgium, Switzerland, and North 
Italy, made a long tour through Germany, 
and then painted in Diisseldorf mostly 
subjects from the Thirty Years’ War and 
the time of Cromwell. In 1864, 1866, 
and 1870-71 he accompanied the German 
armies to the field. Since 1859 professor at 
Diisseldorf Academy ; member of the Ber- 
lin and Vienna Academies; Prussian gold 
medal for Art ; medalsin Berlin and Vienna 
(1873). Works: Tilly’s Flight from Breit- 
enfeld (1841); Morgenroth (1842); Wound- 
ed carried from Battlefield (1838), Prince 


235 


CAMPHUYSEN 


Eugene at Belgrade (1843), Cologne Mu- 
seum; Godfrey de- Bouillon at Ascalon 
(1845); Puritans watching the Enemy 
(1846), National Gallery, Berlin ; Storming 
of English Castle by Cromwellians; Flight 
of Charles I. after Battle of Worcester 
(1849); Charles I. at Naseby (1851); Puritans 
on Morning Watch (1852), Kunsthalle, Ham- 
burg ; Captive English Family escorted by 
Puritans, New Pinakothek, Munich ; Eques- 
trian Portraits of Frederic the Great, of 
Seydlitz at Rossbach, of Ziethen, of Keith at 
Hochkirch, of Schwerin at Prague, of Des- 
sauer ; Frederic II. and Regiment Ansbach- 
Bayreuth at Hohenfriedberg ; Frederic at 
the Parade in Potsdam, Royal Palace, Ber- 
lin; Bliicher taken Prisoner as Swedish En- 
sign, Prussian Grenadiers after Battle of 
Leuthen, Bliicher crossing the Rhine at 
Kaub, Breslan Museum; Blicher meeting 
Wellington at Belle-Alliance, Konigsberg 
Museum ; Equestrian Portraits of Blticher 
and Gneisenau, Magdeburg Museum; Diip- 
pel after the Storming (1857), National Gal- 
lery, Berlin ; Fight inside Diippel Earthwork 
IL, Crossing to Alsen (1866), Bremen Gal- 
lery; Ordnance Ride (1866); Capture of 
Austrian Standard at Nachod (1868) ; Meet- 
ing of Prince Fred. Charles and Crown 
Prince at Chlum (1868); King William deco- 
rating the Crown Prince with an Order 
(1868); Napoleon at Sedan ; Meeting between 
Bismarck and Napoleon ; Entry of Emperor 
William into Berlin; Great Elector before 
Battle of Fehrbellin ; Storming of Kénigin- 
hof; Cavalry Skirmish at Waterloo; Em- 
peror William on Horseback with Roon, 
Bismarck and Moltke (1872), Cologne Muse- 
um; Emperor William with Moltke (1873); 
Frederic William I. with Dessauer (1879); 
Homage of the Silesian Estates at Breslau 
(1882), Arsenal, Berlin.—Brockhaus, iii. 883 ; 
Mlustr. Zeitg. (1880), ii. 389 ; Kunst-Chronik, 
xx, 649; N. Illustr. Zeitg. (1881), IL. 671; 
Bruno Meyer, Studien u. Kritiken, 1; Rie- 
gel, Kunststudien, 397. 

CAMPHUYSEN, DIRK RAFAELSZ, 
born at Gorkum in 1586, died at Dokkum, 


in 1626. Dutch school; painted landscapes 
with figures and animals, and interiors of 
peasant houses. In sunsets and snow effects 
he was particularly successful. In 1604 he 
gave up art to study theology. Works: 
Twomoonlight landscapes, Dresden Gallery. 
—L’Art (1877), i. 37 

CAMPHUYSEN, GOVERT, born at Gor- 
kum in 1624, died in Amsterdam in 1674. 
Dutch school; son of Dirk ; animal painter 
of vivid conception and great truthfulness 
in his boldly drawn pieces, remarkable for 
details. Made citizen of Amsterdam, March 
16, 1650. His pictures are scarce and some 
of them are probably attributed to Paul. 
Potter. Works: Farm Interior (1650), 
Brussels Museum ; Halt of Peasants at an 
Inn, Rotterdam Museum; Inn with Shep- 
herds and Peasants, Rocky Landscape with 


G Gam pteyser 1650 


do., Cassel Gallery ; Rustic Interior, Copen- 
hagen Gallery ; Farm Interiors (2), Hermit- 
age, St. Petersburg.—L’Art (1877), i. 37, 
63. 

CAMPHUYSEN, RAFAEL, born about 
1598, died in 1691. Dutch school ; brother 
of Dirk ; painted moonlight landscapes and 
shepherd pieces. May have been a pupil 
of Paul Potter, but his moonlights are in 
the manner of Van der Neer. — Kugler 
(Crowe), 1i. 440. 

CAMPI, ANTONIO, Cavaliere, born in 
Cremona early part of 16th century, died 
about 1591. Lombard school; son of Ga- 
leazzo, and brother and pupil of Giulio 
Campi. Painted in the Duomo and in S. 
Sigismondo, Cremona, and in S. Paolo, S. 
Celso, S. Barnaba, and S. Maurizio Mag- 


AN. CAM. 1$83 


giore, Milan. He sought to imitate Correg- 
gio. Was also architect, sculptor, engraver, 
and author of Cronaca di Cremona (Cremo- 
na, 1585).—Vasari, ed. Mil., vi. 496; Lanzi, 


236 


CAMPI 


ii. 435; Ch. Blane, Ecole lombarde ; Burck- 
hardt, 738 ; Rio, i. 359. 

CAMPI, BERNARDINO, born in Cre- 
mona in 1522, died there about 1590. Lom- 
bard school; son of Pietro Campi, a gold- 
smith, of the same family as Galeazzo; 
pupil of Giulio Campi, and of Ippolito Costa 
at Mantua, where he studied the works of 
Giulio Romano, as also afterwards those of 
Correggio in Parma, Modena, and Reggio. 
After successfully imitating the manner of 
these painters, he formed a vigorous and 
brilliant style of his own. He painted 
many excellent portraits. Became among 
the Campi what Annibale Carracci was in 
his family, and received commissions from 
all the neighbouring cities. His most im- 
portant works are in 8. Sigismondo, Cre- 
mona, where he painted (1570-71) in the 
great cupola many figures from the Bible, 
representing the concourse of the blessed. 
His many works are described by his biog- 
rapher Alessandro Lamo.—Lanzi, ii. 487 ; 
Ch. Blanc, Ecole lombarde; Burckhardt, 
738 ; Kugler (Eastlake), 495. 

CAMPI, GALEAZZO, of Cremona, born 
in 1477, died in 1586. Lombard school ; 
style formed on that of Boccaccino. His 
Raising of Lazarus (1515), now in Casal 
Maggiore, is quaintly treated with senti- 
mental realism. Other pictures of his are 
the St. Christopher (1516), in S. Sigismondo 
and the Madonna in S. Sebastiano, Cremo- 
na; Portrait of the Artist, Uffizi, Florence. 
Galeazzo was the father of Giulio, Antonio, 
and Vincenzo Campi.—C. & C., N. Italy, ii. 
447; Vasari, ed. Mil., vi. 496; Ch. Blanc, 
Keole lombarde ; Burckhardt, 738 ; Rio, iii. 
377. 

CAMPI, GIULIO, born in Cremona about 
1500, died there in 1572. Lombard school ; 
son and pupil of Galeazzo Campi, afterwards 
pupil of Giulio Romano at Mantua, and 
later studied Raphael and the antique at 
Rome. Became the founder of the eclectic 
school of painting at Cremona.  Distin- 
guished both as a painter and an architect. 
S. Margherita, Cremona, is almost wholly 


decorated with his pictures. He painted 
also St. Jerome in the Cathedral, Mantua; 
Pentecost (1546), S. Sigismondo, Cremona; 
Christ before Pilate, Cathedral of Cremona; 
Crucifixion, S. M. della Passione, Milan ; 
and Conversion, Baptism, Miracles, and 
Death of St. Paul, S. Paolo, Milan; Ma- 
donna with Saints (1527), high altar, S. 
Abbondio, Cremona ; (Frescos 1547), S. Mar- 
gherita, Cremona, Castelbarco Gallery, Mi- 
lan, picture dated 1530.—Lanzi, i. 432; 
Vasari, ed. Mil. vi. 496; Ch. Blane, Ecole 
lombarde ; Burckhardt, 738 ; Rio, iii. 380. 

CAMPI, VINCENZO, born in Cremona 
before 1532, died Oct. 3, 1591. Lombard 
school; youngest son of Galeazzo, and 
brother and pupil of Giulio Campi. Good 
painter of portraits and of still life. Aided 
his brothers, in S. Paolo, Milan, and in 
other churches. Pictures in the Brera, 
Milan ; Descent from Cross, Cathedral of 
Cremona.— Vasari, ed. Mil., vi. 496 ; Lanzi, 
ii. 436; Ch. Blanc, Ecole lombarde. 

CAMPUZANO, Don TOMAS; contempo- 
rary. Landscape painter ; Medal, Madrid, 
1883. Works: In the Bay (1881); Beach 
of Vivero (1883); The Tajo at Lisbon ; The 
Tajo at Belem (1884).— La TIlustracion 
(1881), i. 419 ; ii. 65 ; (1883), i. 123; (1884), 
iL 219: 

CAMUCCINI, VINCENZO, Cavaliere, born 
in Rome in 1773—75, died there, Sept. 2. 
1844, Italian school; history and portrait 
painter ; pupil of his brother Pietro, a pict- 
ure restorer, and of Bombelli the engraver, 
but formed himself chiefly by copying the 
old masters. Stimulated by the arrival of 
David at Rome, he painted, in the classic 
manner, a series of pictures illustrative of 
Roman history, as well as many religious 
subjects, which won him reputation. He 
was also eminent as a portrait painter, 
among his sitters being Pius VIL, the King 
and Queen of Naples, Countess Schouvaloff, 
Countess de Diedrichstein, Duc de Blacas, 
and other notable persons. He was inspec- 
tor-general of the pontifical museums, and of 
the factory of mosaics, and of the Neapoli- 


237 


CANALE 


tan Academy of Rome, member of the 
French Institute, and president of the 
Academy of St. Luke. Pius VIL. gave him 
the title of baron, and Francis I. the Order 
of the Iron Crown. Works: Horatio Co- 
cles, Romulus and Remus, Count de Schiin- 
born; Death of Cesar, Death of Virginia, 
Continence of Scipio, Palazzo Reale, Naples; 
Departure of Regulus for Carthage ; Incre- 
dulity of St. Thomas (mosaic in St. Peter's); 
Presentation in Temple, 8. Giovanni, Pia- 
cenza; Death of the Magdalen, Entomb- 
ment (painted for Charles IV. of Spain); 
Mission of Benedictine Monks to England 
(1833); Conversion of St. Paul (1834), SS. 
Apostoli, Rome.—Otiley. 

CANALE, ANTONIO. See Canaletio. 

CANALETTO, IL, born in Venice, Oct. 
18, 1697, died 
there, April 20, 
1768. Venetian 
school. Real 
name Antonio 
Canal or Canale; 
in Italy also 
called Il Tonino. 
Son of Rinaldo 
Canale, painter 
of theatrical 
scenery ; followed same business for several 
years, and thus acquired great readiness of 
hand and fertility of invention. About 1719 
he went to Rome, where he occupied himself 
in studying the antique, and painted many 
views of its architectural remains. On his 
return to Venice he devoted himself to 
painting picturesque views of that city in 
all its aspects—its canals, bridges, public 
places, palaces, and churches, and carnival 
and festival scenes full of figures. He vis- 
ited England twice, and painted many suc- 
cessful pictures there, examples of which 
are to be seen at Windsor Castle. The gal- 
lery contains some of his finest pictures, 
views in Rome and Venice. He executed a 
great number of works, and there are few 
large collections without examples by him ; 
but many pictures which pass under his 


name are by his pupils, Bellotto and Guar: 
di. Ch. Blanc says Canaletto is unexcelled 
in painting architecture, in aérial perspec- 
tive, and in rendering slightly ruffled water. 
His drawing is always precise and accurate, 
and his colouring is wonderfully beautiful. 
But Ruskin avers that he is “less to be 
trusted for renderings of details than the 
rudest and most ignorant painter of the 
thirteenth century.” His figures are not 
always good, and in some of his pictures 
they were put in by Tiepolo. Among his 
most noted works are the Church of S. M. 
della Salute in Venice, Louvre; and the Re- 
ception of Count Gergi, and the Marriage 
of the Doge with the Adriatic, Hermitage, 
St. Petersburg. Other excellent examples 
are: View of Ducal Palace, and View in 
Venice, Uffizi, Florence; View of Venice, 
Turin Gallery ; do., Academia Carrara, 
Bergamo ; Views in Venice (4), Berlin Mu- 
seum; do. (4), Munich Gallery ; View in 
Venice, View on Grand Canal, Piazzetta of 
S. Mark, Scuola di 8. Rocco, Ducal Palace, 
View of EKton College, Landscape with 
Ruins, Regatta on Grand Canal, Grimani 
Palace, and others, National Gallery, Lon- 
don; and Seaport, Galleria Estense, Mo- 
dena—Ch. Blane, Ecole vénitienne; Dohme, 
2i1.; Seguier, 36; Burckhardt, 805. 

CANDAULES, KING, Jean Léon Gérdme, 
Paris. Candaules, King of Lydia, proud of 
his wife’s beauty, exhibited her unveiled 
charms to Gyges, a favourite officer. The 
Queen, having caught sight of Gyges as he 
was stealing from his place of concealment 
in her chamber, gave him the alternative of 
murdering Candaules and receiving her and 
the kingdom, or of suffering death himself. 
He chose the former alternative, and became 
the founder of the dynasty of the Mermna- 
de. (Herod., i. 7; Just., i. 7). Engraved 
by A. Francois. 

CANELLA, GIUSEPPE, born in Verona 
in 1788, died in Florence in 1847. Archi- 
tecture and landscape painter ; sketched in 
France, Germany, and Switzerland. Among 
his best works are: Views of Paris and the 


238 


CANLASSI 


Cathedral of Milan ; Sta. Croce 
Haven of Honfleur.—Wurz- 


Boulevards ; 
in Florence ; 
bach, ii. 249. 

CANLASSL See Cagnacci. 

CANO, ALONSO, born in Granada, March 
19, 1601, died there, 
Oct. 3, 1667. Span- 
tsh school. After 
his father, Miguel, 
removed to Seville, 
Alonso, by the ad- 
vice of Juan del 
Castillo, studied 
sculpture under. 
Montanes and paint- 
ing under Pacheco; was painter, sculptor, 
and architect, whence sometimes called the 
Spanish Michelangelo. Noted for the man- 
ufacture of retablos or monumental altar- 
pieces, of which all parts—the wood-carv- 
ings and statues as well as the paintings— 
were executed by himself. In 1637 he fled 
from Seville, in consequence of a duel with 
the painter Llano y Valdés, and went to 
Madrid, where, through the favour of Velas- 
quez, his fellow-pupil under Pacheco, he 
obtained the protection of the Duke de 
Olivares and became painter to the king. In 
1644 he was suspected of the murder of his 
wife, but on being put to the torture was de- 
clared innocent,though the suspicions against 
him were strong. In 1652 PhilipIV. appointed 
him a canon in the cathedral at Granada, 
where he passed his last days in practising 
his art and in charitable deeds. Works: 
St. John Evangelist writing the Apocalypse, 
St. Benedict the Abbot, St. Jerome, Madonna 
in Adoration, Flagellation of Christ, Dead 
Christ and Angel,Gothic King on his Throne, 


and Two Gothic Kings, Madrid Museum ; 
Crucifixion, Academy S. Fernando, Madrid ; 
Madonna, Seville Cathe- 

C4e dral (replica in Hermi- 
tage); Souls in Purgatory, 

Seville Museum; St. Agnes, 

Berlin Museum ; St. Paul, Dresden Gallery; 
Madonna and St. Anthony, Munich Gallery; 
Dominican painting Portrait of St. Dominic ; 


Madonna and Child; Child Jesus and little 
St. John; Portrait of himself and of a 
Knight of the Order of the Golden Spur, 
Hermitage, St. Petersburg.—Cean Bermu- 
dez; Stirling, ii. 779; Viardot, 65; Ch. 
Blanc, Ecole espagnole ; Madrazo, 359. 

CANON, HANS (Johann von Straschi- 
ripka), born in ras 
Vienna, March 
13, 1829, died 
there, Sept. 12, 
1885. Genre, 
history and por- 
trait painter; pu- 
pil of Waldmiil- r bf i N 
ler, then in 1848- ie Ws 6 
55 cavalry officer Si , COME Zi 
in the Austrian Wes Miler’ oe : 
army ; after that devoted himself entir ely to 
art; greatly influenced by Rahl. Travelled 
extensively in the East, France, and England, 
lived in 1860-69 in Carlsruhe, then in Stutt- 
gart, and finally settled in Vienna, where he 
became professor at the Academy. Imitated 
the Venetian masters, especially Tintoretto 
and Titian ; one of the best portrait painters 
of his time. Works: Fishermaiden (1858); 
Modern Judith (1860) ; Cromwell beside 
the Body of Charles I., Lodge of St. John 
(1873), Vienna Museum; Circuit of Life, 
Museum of Natural History, Vienna ; Hans 
Sachs ; Modern Diogenes ; The Page; Fruit 
Girl; Treasure Digger ; Lute Player ; Bac- 
chus Intoxicated; Bayadere; Butcher's 
Shop; Girl with Stereoscope ; Flamingo 
Chase ; Dealer in Arms ; St. Benedict, Pope 
Leo the Great, Cassiodorus, Boethius, Male 
and Female Portrait (1883).—Brockhaus, 
iii. 912; Wurzbach, xxxix. 253; Kunst- 
Chronik, xx. 734. 

CANTARINI, SIMONE, born at Oropez- 
za near Pesaro in 1612, died at Verona, Oct. 
15, 1648. Bolognese school; called also Il 
Pesarese and Simone da Pesaro. Pupil of 
Giacomo Pandolfi, with whom he went to 
Venice ; studied next with Claudio Ridolfi, 
and afterwards with Guido; exhibited great 
talent, but grew so vain and arrogant that 


fe eo 
i fe 3: 


4) 


Ay 
Gd fy 


SL 
A 
i W 22 
4 ig Uy 


239 


CANTERBURY 


he was forced to leave Bologna. After 
studying the works of the great masters in 
Rome he returned to Bologna and opened a 
school in opposition to Guido. Humiliated 
at his want of success in painting a portrait 
of the Duke of Mantua, he went to Verona, 
and died there, some say of poison. Baldi- 
nucci calls him another Guido, but though 
he copied Guido with great success, he had 
little originality. He was an able engraver. 
Works: Repose in Egypt (2), Louvre ; Mir- 
acle of St. Peter, S. Pietro, Fano; Assump- 
tion, Bologna Gallery ; Holy Family, Trans- 
figuration, Brera, Milan; Holy Family, 
Madrid Museum; Joseph and Potiphar’s 
Wife, Dresden Gallery ; Holy Family, Re- 
pose in Egypt, Hermitage, St. Petersburg. 
—Malvasia, ii. 373; Lanzi, iii. 103; Ch. 
Blanc, Ecole bolonaise ; Seguier, 37. 
CANTERBURY PILGRIMS, Thomas 
Stothard, National Gallery, London ; wood, 
H. 1 ft. } in.x3 ft. 3 in. A cavalcade of 
numerous figures, all on horseback and rid- 
ing from right to left, illustrating the per- 
sons described in the prologue to Chaucer’s 
‘Canterbury Tales.” Purchased at Leigh 
Court sale (1884). Engraved by the broth- 
ers Schiavonetti and James Heath, 1817. 
CAPANNA, PUCCIO, middle of 14th 
century. Florentine school; disciple of 
Giotto, according to Vasari, who says he 
was a good painter ; but the works assigned 
to him differ much in style, and are all in- 
ferior. Puccio was admitted to the Floren- 
tine painters’ guild in 1350. Among the 
works ascribed to him are frescos in S. 
Francisco, Assisi, S. Maria Novella and S. 
Trinita, Florence, and in the Hall of the 
Capitolo, S. Francesco al Prato, Pistoja, and 
pictures in S. M. Novella and S. Trinita, 
Florence.—C. & C., Italy, i. 376; Vasari, 
ed. Mil., i. 394; Baldinucci, i. 234. 
CAPDEVIELLE, LOUIS, born at Lour- 
des (Hautes-Pyrénées); contemporary. His- 
tory and portrait painter, pupil of A. Millet, 
Bonnat, and Cabanel. Medal, 3d class, 
1882. Works: Knife Grinder, First Prize 
(1876); Pork Scalder (1877); Portraits 


(1878, 1879); Workshop of Seamstresses 
(1880) ; Wedding at Laruns, End of Nana 
(1882); Land-slip in a Quarry, Study of 
Nude Woman (1884); Gratuitous and oblig- 
atory Instruction, A Model (1885). 
CAPELLE, JAN VAN DER, born in Am- 
sterdam, the freedom of which city he re- 
ceived in 1653. Dutch school; marine 
painter, pupil of Albert Cuyp. Painted 
quiet seas under warm and bright skies. 
Works: River with Ships, Amsterdam Mu- 
seum ; Fishing Boats, Rotterdam Museum ; 
Mouth of the Scheldt with numerous vessels, 
Aremberg Gallery, Brussels ; Marine, Berlin 
Museum ; Strand with Ships, Vienna Muse-. 


um ; Calm at Low Water, 
J y Cayre | National Gallery, Lon- 

don ; pictures in the col- 
lections of Messrs. Munro, Baring, and of 
the Duke of Bedford and Lord Overstone.— 
Kugler (Crowe), ii. 501; Ch. Blane, Ecole 
hollandaise. 

CAPORALI, GIOVANNI BATTISTA, 
born in Perugia about 1476, died there 
about 1560. Umbrian school; son of Bar- 
tolommeo Caporali, an inferior painter of 
Perugia (1472-1521); commonly called Bitte 
or Bitti, an abbreviation of Battista; errone- 
ously called Benedetto by Vasari. Brought 
up by his father, but went about 1507-8 to 
Rome, where he became acquainted with 
Perugino, Pinturicchio, Bramante, and Sig- 
norelli, and learned to imitate them. On 
his return to Perugia in 1519 he was made 
a decemvir. He was also an architect, and 
built and decorated with frescos the Villa 
Passerini near Cortona. A fresco in S, 
Croce in Gerusalemme, Rome ; Virgin and 
Saints (1492), S. Girolamo, Citta di Castello ; 
Nativity, Duomo, Panicale, and at S. Salva- 
tore, in neighbourhood, are attributed to this 
painter.—C. & C., Italy, iii. 360 ; Ch. Blane, 
Ecole ombrienne ; Vasari, ed. Mil., iii. 597. 

CAPPONI, RAFFAELLINO. See Garbo. 

CAPPUCCINO, IL. See Strozzi, Ber- 
nardo. 

CARACCIOLO, GIAMBATTISTA, born 
in Naples about 1580, died there in 1641. 


240 


CARAUD 


Neapolitan school ; of good family and edu- 
cation ; pupil of Francesco Imparato, and 
later of Caravaggio when that painter was 
in Naples, about 1606. Roused by the fame 
of Annibale Carracci, he went to Rome, and 
by diligent study of his works in the Pa- 
lazzo Farnese, became a correct designer in 
that painter’s style, still preserving the 
strong contrasts of light and shade that he 
had learned from Caravaggio. Some of his 
pictures are in churches in Naples. He be- 
longed to the infamous Neapolitan Cabal of 
which Spagnoletto was the head.—Lanzi, ii. 
34; Ch. Blanc, Ecole napolitaine. 
CARAUD, JOSEPH, born at Cluny, 
(Sadne-et-Loire), Jan. 5, 1821. Genre paint- 
er, pupil of Abel de Pujol and Charles Louis 
Miller. Some of his pictures have been 
engraved. Medals: 3d class, 1859; 2d 
class, 1861 and 1863; L. of Honour, 1867. 
Works: Oracle of the Fields (1847); The 
Awakening, Dark and Fair (1849); Dancing 
Lesson, Interrupted. Breakfast, A Kitchen 
(1855); Marie Antoinette in the Little Tri- 
anon, Abbé Prévost reading Manon Lescaut 
at an Actress’s (1857); Athalie played at 
Saint-Cyr before Louis XIV., Louis XV. 
and Mme. Dubarry (1859); Mlle. de la Val- 
liére taking the Veil, The Sedan Chair 
(1861); The Great Condé’s Return after the 
Battle of Senef, Signing the Contract, The 
First-Born (1863); Louis XVI. making 
Locks (1865); Blessing the Bread, The Alert 
(1867); Scenes from Marriage of Figaro 
(1868); Marie Antoinette and Madame 
Royale at Versailles (1870); Soubrette Walk- 
ing, Girl holding a Cat (1872); Breakfast 
(1873) ; Parroquet (1874); Pointed Finger 
(1875); Little Farmer (1876); Spring-Time, 
Pleased Abbé (1877); Louis XV. and Mme. 
Dubarry at the Little Trianon, Coffee Mull 
(1878); Pouting, Flower-Girl (1879) ; Sou- 
brette Asleep, Two Friends (1880) ; Magpie, 
Gardener (1882); Parroquet, A Letter (1883); 
Fisher-maiden (1884); Spinner, Petit Dé- 
jeuner (1885). 
_ CARAVAGGIO, MICHELANGELO DA, 
born at Caravaggio in 1569, died at Porto 


Ercole in 1609. Roman school. Real nam: 
Michelangelo Amerighi or Merighi; son of a 
mason; em- 
ployed in Milan 
to mix plaster 
for fresco paint- 
ers, and learned 
to paint by 
watching them. 
Went to Venice 
and studied 
works of Gior- 
gione; thence to 
Rome, where he aided Cesare d’Arpino in 
painting ornamental parts of his pictures. 
The novelty of his style, an energetic but 
coarse rendering of nature, without selec- 
tion and without taste, soon attracted 
notice, and his works won such public ad- 
miration that other artists were led to imi- 
tate his powerful though corrupt manner. 
After painting many important pictures in 
Rome, he fled to Naples to escape justice for 
the homicide of a companion, committed in 
a moment of anger. After various wander- 
ings he received the Pope’s pardon for this 
crime, and was on his way from Naples to 
Rome by sea when he died at Porto Ercole. 
Among his best works are: Entombment, Vat- 
ican ; Gamesters, Palazzo Sciarra, Rome ; Ju- 
dith and Holofernes, Naples Museum; Chess 
Players, Venice Academy; Cupid Asleep, Pa- 
lazzo Pitti, Florence; Christ among the Doc- 
tors, Christ and the Tribute Money, Head of 
Medusa, Uffizi, Florence; Fortune Teller, 
Capitol Gallery, Rome ; Lute Player, Liech- 
tenstein Gallery, Vienna; Fortune Teller, A 
Concert, Death of the Virgin, Portrait of 
Grand Master of Malta, Louvre ; Two Men 
Drinking, Modena Gallery; St. Sebastian, 
Brera, Milan ; St. Matthew and Angel, Ber- 
lin Museum; Fortune Teller, Gamesters, 
Dresden Gallery; Lute Player, Christ 
crowned with Thorns, Martyrdom of St. 
Peter, Martyrdom of St. Sebastian, Hermit- 
age, St. Petersburg; Supper at Emmaus, 
National Gallery, London.—Ch. Blanc, 
Ecole ombrienne; Seguier, 3; Wornum, 


241 


CARAVAGGIO 


Epochs, etc., 332 ; Burckhardt, 767; Dohme, 
2i1i. 

CARAVAGGIO, POLIDORO DA, born at 
Caravaggio about 
1490 (?), died in 
Messina in 1543. 
Umbrian = school. 
Real name Polidoro 
Caldara ; while em- 
“ys ployed as a mason 
kk in the Vatican when 

lf “eee A Raphael and his pu- 

aA pils were painting, 
, he acquired ‘a taste 
for art, and induced Maturino, a Florentine 
artist, to instruct him. He soon exhibited 
such aptitude that Maturino took him into 
partnership, and they executed conjointly 
many works in black and white, now known 
only by engravings. When Rome was sacked 
(1527), Caravaggio went to Naples,and after- 
ward to Messina, where he acquired fame 
and wealth. When about to return to Rome, 
he was murdered for his money. In his 
earlier works Polidoro shows his training in 
the school of Raphael: e. g. Frieze of the 
History of Niobe on fagade of a house in the 
Via della Maschera d’Oro, No. 7, at Rome. 
Later he became an out and out naturalist, 
as in the Christ bearing the Cross, Naples 
Museum. Among his works are: Psyche 
received into Olympus, Louvre ; Passage of 
the Red Sea, Brera, Milan ; St. Luke, Berlin 
Museum ; Pieta, Turin Gallery; 
Meleager, Capitol Museum, -|- 
Rome; Cephalus and Procris, 
Vienna Museum.— Vasari, ed. 
Mil., v. 141; Tassi, Pittura Ber- 
gamaschi (Bergamo, 1708), 76 ; 
Burckhardt, 186 ; Wornum, Epochs, etc., 
235; Ch. Blanc, Ecole ombrienne ; Dohme, 
2i1.; Liibke, Gesch. ital. Mal., ii. 375. 

CARBAJAL, LUIS DE, born in Toledo 
in 1534, died after 1613. Spanish school ; 
pupil of Juan de Villoldo, removed early to 
Madrid, and became, in 1556, painter to 
Philip II. Painted in 1570-82 seven altar- 
pieces for the Escorial, and a Magdalen 


PAN 


|(1570), now in the Madrid Museum. In 
1591 he painted, with Blas del Prado, some 
pictures for the Church of the Minorites, 
Toledo ; Portrait of the Archbishop D. Bar- 
tolomé Carranza in the capitular hall of the 
Cathedral at Toledo ; Circumcision, Hermit- 
age, St. Petersburg.—Stirling, i. 261; Ma- 
drazo, 365. 

CARBONE, GIOVANNI BERNARDO, 
born in Albaro, near Genoa, in 1614, died in 
1683. Genoese school; pupil of Gio. Andrea 
de’ Ferrari ; studied composition in Venice. 
Painted historical subjects, but chiefly noted 
for his portraits, in which he imitated Van 
Dyck. Works: St. Louis adoring the Cross, 
l’Annunziata, Genoa; Madonna and Saints, 
Palazzo Pallavicini, Genoa.—Lanzi, ili. 267; 
Ch. Blane, Ecole génoise; Burckhardt, 779. 

CARCASSONNE, DELIVERANCE AT, 
Jean Paul Laurens, Luxembourg Museum ; 
canvas, H. 14 ft. 2 in.x11 ft. In August, 
1303, the inhabitants of Carcassone and of 
Albi, under the lead of the reformer of Lan- 
guedoc, Jean de Picquigny, released many 
prisoners from the dungeons of the Inquisi- 
tion. Men are engaged in removing the 
stones from the entrance, over which is seen 
the Papal arms, while the reformer is preach- 
ing to people at left. Salon, 1879. 

CARDENAS, BARTOLOME DBE, born 
in Portugal in 1547, died in Madrid in 1606. 
Spanish school ; pupil in Madrid of Alonso 
Sanchez Coello ; painted frescos in the clois- 
ters of Convent of Atocha, Madrid; in 1601 
went to Valladolid, at invitation of Duke of 
Lerma, for whom he painted altarpieces in 


the church and several religious works in 
the cloisters and chapels of the convent of 
S. Pablo. Some of his pictures are in the 
Museum at Valladolid. His son Juan (flour- 
ished 1620), was a painter of fruits and flow- 
ers.—Stirling, i. 432. 

CARDI, LUDOVICO. See Cigoli. 

CARDUCCI (Carducho), BARTOLOM- 
MEO, born in Florence in 1560, died in Madrid 
in 1608. Florentine school; pupil of Federigo 
Zucchero, with whom he went, in 1585, to 


Spain, and was engaged as painter, sculptor, 


242 


CARDUCHO 


and architect under Philip II. and Philip 
If. Painted frescos in the library of the 
Escorial, and several altarpieces, as well asa 
Descent from the Cross, in S. Felipe el Real ; 
also began, in the Pardo, frescos which were 
finished by his brother Vincenzio. Works: 
Descent from the Cross, St. Sebastian, Last 
Supper, Madrid Museum.—Stirling, 1. 212; 
Ch. Blane, Ecole espagnole ; Viardot, 256. 

CARDUCHO, VINCENZO, born in Flor- 
ence in 1578(?), died in Madrid in 1688. 
Spanish school ; went to Spain in 1585, with 
his elder brother, Bartolommeo, who in- 
structed him in painting. Succeeded his 
brother as painter to Philip IIL., and finished 
the frescos begun by him in the Pardo. 
Was also painter to Philip IV. In 1626-32 
he painted fifty-four pictures for the Car- 
thusians of El Paular ; twenty-seven repre- 
senting the life of St. Bruno, and twenty- 
seven representing the Martyrdoms and 
miracles of the Monks of the Order. These 
are all in the Madrid Museum. He painted 
also historical pictures and portraits, 120 of 
which are mentioned by Cean Bermudez as 
in public edifices in Spain, and wrote the 
Didlogos de las Excelencias de la Pintura, 
the best work on painting in the Castilian 
tongue (Madrid, 1633). Works: Battle of 
Fleurus, Relief of Constance, Capture of 
Rheinfeld (three scenes in Thirty Years’ 
War), Birth of the Virgin, Visitation, Pres- 
entation of 


Jems, Ae VINCENT * 

* . : 
foe CAROVCH- 
drid Muse- 4 G 30 


um; Infant 

Christ and Christ and Angels, with SS. Gon- 
zalo, Francis, and Bernardino (1630), Dres- 
den Gallery.—Stirling, i. 417; Ch. Blane, 
Ecole espagnole ; Viardot, 258 ; Madrazo, 
366. 

CARIANI, GIOVANNI BUSI, of Ber- 
gamo, born at Fuipiano about 1480 (?), liv- 
ing in 1541. Venetian school. The earliest 
record in regard to him is a contract of 


1508. He imitated the great Venetian mas- 
ters so closely that his works are often con- 
founded with theirs, and appear under the 
names of Giorgione, Palma, and Pordenone. 
There are but two dated canvases among 
the many works ascribed to him, a group in 
the Ronealli collection (1519), and a Madon- 
na in the Casa Baglioni, Bergamo (1520). 
Other examples are in the Lochis-Carrara 
Gallery, Bergamo; the Brera, Milan ; and 
the Dresden Museum.—C. & C., N. Italy, 11. 
546; Tassi, Pittori Bergamaschi, 1. 33; 
Burckhardt, 737 ; Liibke, Gesch. ital. Mal., 
li, 625. 

CARLONI, GIAMBATTISTA, born in 
Genoa about 1594, died there in- 1680. 
Genoese school; son and pupil of Taddeo 
Carloni, painter, sculptor, and architect 
(died 1613) ; studied in Florence under Pas- 
signano and in Rome; associate of his 
brother Giovanni, and aided him in most 
of his works, especially in the Gest and in 
the Annunziata del Guastato, Genoa; also 
finished his frescos in 8. Antonio Abate, 
Milan. Painted frescos at S. Siro, Genoa, 
and painted much in private palaces. Had 
by his wife Niccoletta Scorza twenty-four 


IP Carboni 


1670 


children, of whom Andrea or Giovanandrea 
(born 16389, died 1697) and Niccold were 
painters.—Lanzi, i. 263, 278; Ch. Blanc, 
Ecole génoise ; Burckhardt, 799. 

CARLONI, GIOVANNI, born in Genoa 
in 1591, died in Milan in 1630. Genoese 
school; son and pupil of Taddeo Carloni, 
and scholar of Pietro Sorri; finally studied 
in Rome and Florence, where he learned 
fresco under Passignano. Became an able 
fresco painter ; works in del Gesi, l’Annun- 
ziata del Guastato, and S. Domenico, Genoa. 
Was painting the ceilings of S. Antonio 
Abate, Milan, when he died.—Lanzi, i. 
263; Ch. Blanc, Ecole génoise. ; 


243 


CARLOS 


CARLOS, DON, brother of Philip IV., 
portrait, Velasquez, Madrid Museum ; can- 
vas, H. 6 ft. Tin. x4 ft. lin. About twenty 
years old, full-length, standing, black dress. 
Painted about 1627, first manner. Etched 
by J. J. Martinez de Espinosa; Guérard.— 
‘Curtis, 60 ; Madrazo, 614. 

CARLSEN, EMIL, born in Denmark in 
1848. Went to America in 1872, and stud- 
ied in Boston, where he has since lived. 
Works: Still Life (T. B. Clarke, New York.) 

CARLUCCIO DELLE MADONNE. See 
Maratti, Carlo. 

CARMANIDES. See Charmantides. 

CARMIENCKE, HERMANN, born in 
Hamburg, Sept. 2, 1810, died in Brooklyn, 
‘N. Y., June 15, 1867. Landscape painter 
and engraver; pupil of Dahl in Dresden, 
and from 1834 at the Copenhagen Academy. 
In 1837 was again in Dresden and Leipsic ; 
returned to Copenhagen in 1838, visited 
Sweden in 1841, Munich and Tyrol in 1842, 
and Italy in 1845-1846. Was court painter 
to Christian VIIL, until after the German- 
Danish war of 1848. Emigrated to New 
York in 1851 and became one of the found- 
ers of the Brooklyn Academy. Works: 
Lake among High Mountains, Ziller Valley 
in Tyrol.—Andresen, iv. 46. 

CARNOVALE, FRA, flourished about 
1456. Umbrian school; real name Bartol- 
ommeo di Giovanni di Bartolo Corradini ; 
entered the Dominican Order, and in 1461— 
88 was curate of S. Cassiano of Cavallino, 
near Urbino. A Madonna with Saints and 
Angels, in the Brera, Milan, is attributed to 
him. It is in the style of Piero della Fran- 
cesca, and if it be the work of Fra Carno- 
vale, he was probably a pupil of that master. 
Vasari makes Fra Carnovale the master of 
Bramante. Other works: St. Michael and 
the Dragon, National Gallery, London; 
Madonna and Angels, S. M. delle Grazie, 
Sinigaglia.—C. & C., Italy, ii. 553; Vasari, 
ed. Mil., iv. 147. 

CAROLUS, LUDOVICUS ANTONIUS, 
born in Antwerp, Dec. 25, 1814. Genre 
painter; pupil of Eeckhout and of F. de 


Braekeleer, and in Paris (1831-84), under 


. le Poitevin ; settled in 1836 in Antwerp, 
where he acquired reputation. Works: 
Presentation, Music, Visit at the Studio.— 
Nagler, Mon., iv. 325. 

CAROLUS-DURAN (CHARLES AU- 
GUSTE EMILE 
DURAND), 
called, born at 
Lille, July 4, 
1837. 
school; genre and 
portrait painter ; 
pupil of Souchon; 
went to Paris, 
where he won a 
prize and a pen- 
sion founded by 
Wicar for his fel- 
low-citizens of Lille, and went to Italy, after- 
wards to Spain. His work shows traces of 
the influence of both countries. Lately he 
has painted portraits, especially female, with 
great success. Is also a sculptor. Medals 
in 1866, 1869, and 1870; 2d class in 1878 , 
medal of honour, 1879; L. of Honour, 
1872; Officer, 1878. Works: Evening 
Prayer (1865) ; The Murdered Man (1866), 
Lille Museum ; St. Francis of Assisi (1868); 
Dame au Gant (1869), Luxembourg Mu- 
seum ; portraits only during the next ten 


years, of which 
Larolus Duran, 


one of the most 
1882 


noted is Mlle. 
Croizeite ; Glo- 
ria Maris Médi- 


cis (1878, ceiling in the Luxembourg) ; 


Child on the Banks of the Tagus (1868) ; 
portraits in 1879, 1880, 1881; A Future 


Doge (1881); A Burial (1882); A Vision 


(1883).—Larousse ; Montrosier. 

CAROTO (Carotto), GIOVAN FRAN- 
CESCO, born in Verona in 1470, died 
there in 1546. Lombard school; pupil in 
Verona of Liberale, and in Mantua of Man- 
tegna, of whom he is said to have been so 
perfect an imitator that his works passed 
as those of his master. On his return to 


244 


French 


eee 


CARPACCIO 


Verona, previous to 1508, his pictures took 
a local tinge reminiscent of Liberale and 
Giolfino. He executed important works for 
Ant. Maria Visconti, in Milan, and for the 
Marquis of Montferrat, in Casale. Called by 
Maffei the Proteus of Veronese painters, so 
varied are his works in style. Among them 
are: Altarpiece, S. Tommaso, Verona; Christ 
and Saints, S.Caterina, Resurrection of Laza- 
rus, Virgin and Saints, Verona Gallery ; 
SS. Roch and Sebastian, 8. Giorgio, Vero- 
na; Madonna and St. Anne, 8S. Termo Mag- 
giore, ib.; St. Martin on Horseback, S. 
Anastasia, ib.; St. Ursula and the 11,000 
Virgins, S. Giorgio, ib. (1545). Madonna, 
Staidel Institute, Frankfort ; do., Collection 
of Baron Sternburg, Lutschena. Vasari 
says he was the first Veronese who painted 
landscapes well. Giovan Francesco had a 
brother Giovanni Caroto, probably his as- 
sistant, but much inferior to him. He is 
noteworthy only as the first master of 
Paolo Veronese.—C. & C., N. Italy, 1. 481; 
Vasari, ed. Mil., v. 288 ; Baldinucci, ii. 44 ; 
Burckhardt, 158, 167, 190; Ch. Blanc, 
Ecole lombarde ; Bernasconi, 292 ; Lermo- 
lieff, 167 ; Liibke, Gesch. ital. Mal., u. 574. 

CARPACCIO (Scarpaccia, Scarpaza), VIT- 
TORE, born in 
Istria about 1450, 
died after 1522. 
Venetian school. 
It is conjectured 
that Carpaccio 
went to Constan- 
tinople with Gen- 
tile Bellini in 
1479, and it is 
clear that the 
great painter’s influence developed his style 
and affected his colour and drawing, but the 
first certain date connected with Carpaccio 
is 1490, when he began to paint the series of 
nine ‘pictures illustrative of the life of St. 
Ursula, Venice Academy. Like Gentile Bel- 
lini’s large works, those of Carpaccio preserve 
the features of old Venice, and show the 
variety of costume which gave so much pic- 


turesqueness to her squares and water-ways. 
He had not Bellini’s gentleness and sweet- 
ness, but was more energetic in action, hard- 
er and drier in tone. The picture of the 
bleeding Christ adored by Angels (1496), 
Vienna Museum, is painful in subject, and 
stiff in figure action. Between 1502 and 
1508 Carpaccio painted nine small easel 
pictures and an altarpiece for the school or 
refuge of distressed Dalmatian seamen, 
which had been rebuilt under the name of 
San Giorgio de’ Schiavoni. These pictures 
represent scenes from the lives of Christ 
and the patron Saints of Dalmatia and Al- 
bania, Jerome, George, and Trifon. ast- 
ern costumes and landscapes of an. Kast- 
ern character abound in them, as in the 
Baptism of the Gentiles, and the Combat of 
St. George. The altarpiece represents the 
Virgin and Child between two angels. The 
Annunciation (1504), Vienna Academy, the 
Glory of St. Thomas Aquinas (1507), Stutt- 
gart Museum, and the Burial of the Virgin 
(1508), Ferrara Gallery, show that Car- 
paccio’s forte lay rather in treating inci- 
dents of legendary history than religious 
episodes. Still, we think that his Presenta- 
tion in the Temple (1510), Venice Academy, 
is his masterpiece. Another fine and char- 
acteristic work is the Supper at Emmaus, in 
S. Salvatore, Venice. Other pictures paint- 
ed before Carpaccio began to fail are the 
Vocation of St. Stephen (1511), Berlin Mu- 
seum ; his Sermon at the Louvre, and his 
Dispute with the Doctors (1514), Brera, Mi- 
lan ; and his Martyrdom (1515), Stuttgart. 
The altarpiece at S. Vitale of this year 
shows manifest decline “attributable to 
age, weariness, or much use of assistants.” 
Many later works scattered about in Istrian, 


VICTOR CaRPATHIVS 
FINXIT M-pD-X1- 


“2 


Lombard, and Friulian churches show still 
further decay. The last, of 1519, are two 


245 


CARPENTER 


altarpieces at S. Francesco of Pirano in Is- 
tria, and of Pozzale near Cadore.—Vasari, 
ed. Mil, ui. 627, 661; C. & C., N. Italy, i. 
195; Ch. Blanc, Ecole vénitienne ; Liibke, 
Gesch. ita]. Mal., i. 539. 

CARPENTER, FRANCIS BICKNELL, 
born at Homer, New York, in 1830. Por- 
trait painter, pupil of Sanford Thayer in 
Syracuse. Professional life passed in New 
York ; elected an A.N.A. in 1852. Works: 
David Leavitt (1852), American Exchange 
Bank, New York ; Asa Packer, Lehigh Uni- 
versity, Pennsylvania; Lieut-Gov. Woodford, 
Senate Chamber, Albany ; Goldwin- Smith, 
Cornell University; Prof. Gibbs, Yale Col- 
lege, New Haven ; Horace Greeley, Tribune 
Association, New York; Gov. M. H. Clarke, 
President Fillmore, City Hall, New York ; 
Abraham Lincoln (1874), Capitol at Albany; 
President Tyler, President Pierce, Wm. H. 
Seward, Chas. Sumner, and many others. 
His Emancipation Proclamation (1864,) is in 
the Capitol, Washington. — 

CARPI, GIROLAMO DA. See Girolamo 
da Carpi. 

CARR, DAVID, born in England; con- 
temporary. Landscape and genre painter. 
Exhibits at Royal Academy and Grosvenor 
Gallery. Works: Weed Burners (1879) ; 
Watercress Gatherers (1880); A la Fontaine 
— Yport (1881); Cliff Ploughing, Violets 
(1882); Waiting, An Old-Fashioned Spring, 
At the Doors of La-Force— Paris, 1792 
(1883). 

CARRACCI, AGOSTINO, born in Bologna, 
Aug. 16, 1557, died 
in Parma, March 22, 
1602. Bolognese 
school; son of a tailor, 
Antonio Carracci, who 
was cousin to Vin- 
cenzo, the father of 
Lodovico Carracci. 
Pupil of Fontana, of 
Domenico Tibaldi, and 
of Cornelius Cort, with whom he studied en- 
graving, to which he devoted more time than 
to painting; afterward studied in Parma and 


in Venice, and on his return to Bologna 
(1589), opened the famous. Eclectic school 
of the Carracci with Lodovico and Annibale 
Carracci. He aided his brother Annibale 
(1600), in the Palazzo Farnese, Rome, where 
he painted the Triumph of Galatea and Ceph- 
alus and Aurora, of which his cartoons 
exist in the National Gallery, London ; after- 
ward went into service of Duke Ranuccio 
Farnese in Parma, where he died. Among 
his best works are the Communion of St. 
Jerome, Assumption, Bologna Gallery; Land- 


Ve ve v0 scape with 


Bathers, Pa- 
lazzo_ Pitti, 
Florence; 
Sef - Infant Her- 
cules,, Lou- 


vre, Paris; Rinaldo and Armida, Naples Mu- 
seum.—Malvasia, i. 263; Amorini, Vite, etc. 
(Bologna, 1840) ; Baldinucci, iii: 323; Wor- 
num, Epochs, 320; Burckhardt, 699, 784, 
794, 796, 808 ; Ch. Blanc, Ecole bolonaise ; 
Dohme, 2iii.; Seguier, 39; Bartsch, xviii. 31. ~ 
CARRACCI, ANNIBALE,: born in Bo- 
logna, Nov. 3, 
1560, died in 
Rome, July 15, 
1609. Bolognese 
school; brother 
of Agostino and 
pupil of Lodo- 
vico Carracci. In 
1580 he went to 
Parma to study 
the works of Cor- : 
reggio and of Parmigiano ; also visited Ven- 
ice, and after seven years’ absence returned 
to Bologna. He aided his cousin and broth- 
er in the academy which they founded there 
until 1600, when he accepted the invitation 
of Cardinal Odoardo Farnese to decorate 
the vaulted ceiling of a gallery in his palace 
in Rome. In this work, which occupied 
him eight years, he was assisted by his 
brother Agostino, and by Domenichino 
and Lanfranco. It represents various myth- 
ological subjects illustrative of celestial and 


246 


CARRACCI 


terrestrial love, and is varied with many or- 
namental figures, some in stucco and some 
in chiaroscuro. It excited the greatest ad- 
miration in Rome,and was declared by Pous- 
sin to excel all other works except those of 
Raphael. Annibale’s pictures are more di- 
versified in style than those of Lodovico and 
Agostino, comprising paintings in the man- 
ner of several of the great masters. Among 
his works are: Annunciation, Assumption, 
Madonna in Glory and Saints, Madonna with 
Saints, Bologna Gallery ; Bacchante, Madon- 
na, Uffizi, Florence; Last Supper, Ferrara 
Gallery ; Rinaldo and Armida, Pieta, Holy 
Family, Bacchante, Naples Museum ; Pieta, 
Palazzo Borghese, Rome; St. Roch giving 
Alms, Assumption, Ecce Homo, Madonna ot 


St. Matthew, Dresden Gallery; Holy Family, 
Diana and Callisto, Resurrection, Entomb- 
ment, Dead Christ, Apparition of the Madon- 
Cherries, Nativity, Birth of the Virgin, 
Louvre ; Three Marys, Castle Howard, Eng- 
Herminia i 

and the #) & 

She p- a A 4) G An ob 5 3 
herds, Si- 

Pan and Ag y G. 
Apollo, ‘ 

lery, London.—Malvasia, i. 263; Wornum, 
Epochs, 321; Kugler (Hastlake), uu. 571; 
44; Dohme, 2iii.; Ch. Blanc, Ecole bolo- 
naise. 

logna in 1595, died in Rome, June 3, 1622. 
Bolognese school. Nephew of Agostino and 
Set up a rival academy in Bologna, putting 
over his door, ‘This is the true School of the 
There are a few pictures by him in Bologna, 
such as St. Roch comforted by an Angel, 


Berlin Museum; St. Sebastian, Magdalen, 
na, Sleep of Infant Jesus, Madonna of the 
land; Christ appearing to Peter, St. John, 
lenus, 
Temptation of St. Anthony, National Gal- 
Burckhardt, 769, 783 ; Gualandi, Guida, 36, 
CARRACCI, FRANCESCO, born in Bo- 
Annibale, and pupil of Lodovico Carracci. 
Carracci,” but not succeeding, went to Rome. 
Oratory of S. Rocco; Madonna and Saints, 


S. M. Maggiore.—Malvasia, Felsina Pittrice, 
i. 373; Dohme, 2i11. 
CARRACCI, LODOVICO, born in Bo- 


logna, April 21, Ce 
1555, died there, FN 
Nov. 13, 1619. Gp 


Bolognese school ; 
son of Vincenzo 
Carracci, a butch- 
er; pupil at Bo- 
logna of Prospero 
Fontana, who ad- 
vised him to give 
up painting, while 
named him from 


his brother pupils nick- 
his stupidity the Ox. 
Studied chiefly at Venice under Tintoretto, 
who gave him but little more encouragement 


than Fontana. Afterward painted under 
Pasignano in Florence, and studied the 
works of the great masters in Venice, Man- 
tua, Parma, and Padua. JBy persevering 
labour he acquired a correctness and sim- 
plicity of style which brought him into re- 
pute and enabled him to found in Bologna 
in 1589 an academy of painting which soon 
became the most important school of the 
time in Italy. He called it the Incamminati 
(Right Road), but it is usually known as the 
Eclectic school of Bologna, because the Car- 
racci sought to unite in this system the ex- 
cellences of each of the great masters. His 
cousins Agostino and Annibale soon joined 
him, and the three conducted it until 1600, 
after which Lodovico was its head until his 
death. The best pupils of this school were 
Domenichino and Guido. Lodovico ex- 
celled rather as a teacher than as a painter, 
but left some excellent works, both in fresco 
and in oil, such as, Madonna in Glory and 
Saints, Birth of St. John Baptist, Preaching 
of St. John Baptist, Christ crowned with 
Thorns, Madonna with Saints, Calling of St. 
Matthew, Conversion of St. Paul, Transfigu- 
ration, Bologna Gallery; Scenes from lives of 
SS, Benedict and Cecilia, S. Michele in Bos- 
co, Bologna; Miracle of the Loaves and 
Fishes, Berlin Museum ; Pieta, Palazzo Cor- 
sini, Rome; Ecce Homo, Palazzo Doria, 


247 


CARREE 


Rome ; Annunciation, Nativity, Madonna, 
Pieta, Vision of St. Hyacinth, Louvre, Paris; 
Susannah and the Elders, National Gallery, 
London. 
— Malva- 


ie do sia, i. 263; 
y L Amorini, 
Vite, ete. 
CLAOCEL ae 
Baldinuc- 
ci, ili. 302; Wornum, Epochs, 319; Burck- 
hardt, 772; Ch. Blane, Ecole bolonaise ; 
Dohme, 2iii.; Seguier, 38; Kugler (Kast- 
lake), ii. 572. 

CARREE, HENDRIK, the elder, born at 
Amsterdam, Oct. 2, 1656, (1658), died in 
1721. Dutch school ; animal and landscape 
painter, pupil of Juriaan Jacobsz and of 
Jacob Jordaens. One of his sons, born at The 
Hague, Sept. 27, 1696, died there in 1775, 
and two of his nephews, bore the same name 
and were also painters, either of whom may 
as well be the author of the following works, 
painted about 1710 or later: Cattle among 
Ruins, Cattle and Peasant Woman with 
Basket, Brunswick Museum.—Immerzeel, 
1. 129; Kramm, i. 221; Riegel, Beitrige, ii. 
418. 

CARREE, MICHIEL, born at Amsterdam 
in 1666, died at Alkmaar. Dutch school; 
animal and landscape painter ; pupil of his 
brother Hendrik C., then of Berchem, but 
followed the style of Gabriel van der Leeuw ; 
resided some time in England, and about 
1698 was invited to Berlin and made painter 
to King Frederick L., after whose death he 
returned to Holland and lived mostly at 
Alkmaar. Works: Mad Bull, Cattle and 
Shepherdess playing Flute, Cattle among 
Ruins, do. by Cottage, Brunswick Museum. 
—Gool, i. 125 ; Hoet, Aanmerkingen, 13. 

CARRENO DE MIRANDA, Don JUAN, 
born at Aviléz, Asturias, March 25, 1614, 
died in Madrid in September, 1685. Of 
noble family. Spanish school; pupil of 
Pedro de las Cuevas, and of Bartolomé Ro- 
man ; became assistant to Velasquez, whom 


24 


na, 1840); | ; 


he aided in the Alcazar and other royal 
palaces; painted in Madrid and other 
cities many pictures 
for churches and 
convents, and, with 
Francisco Rizi, the 
cupola of 8. Antonio 
de los Portugueses. 
Became one of the 
court painters of 
Philip IV. (1660), 
and was honoured 
in the same way by Charles IL (1671). His 
works show correct design and harmonious 
colouring. Painted chiefly portraits and 
religious compositions. Works: Portrait 
Charles II. (2), Queen Mariana, mother of 
Charles IL, three others, Madrid Museum ; 
id., Count Harrach, Vienna; Don Juan of 
Austria, Sir Wm. Stirling Maxwell, London; 
id., heirs of Infant Sebastian, Pau ; Magda- 
len, Academy S. Fernando, Madrid ; Mar- 


tyrdom of St. Sebastian, St. Anthony feed-. 


ing the Fishes, Our Lady of Atocha, Muse- 
um Nacional, Madrid ; Baptism of Christ, 
and St. Damian, Hermitage, St. Petersburg. 


JOANNESACARRENNO 


PICTOR REG. ETC\BI 
FAC, ANNO, 1673 


—Stirling, iii. 995 ; Viardot, 220 ; Ch. Blane, 
Ecole espagnole; Curtis, 321 ; Madrazo, 
374. 

CARRIERA, ROSALBA 
born in Venice, 
Oct. 7, 1675, died 
there, April 15, 
1757, Venetian 
school ; daughter 
of Andrea Carri- 
era de Costanti- 
no, chancellor of 
the village of 
Gambarare. 
Worked with her 
mother at making Point de Venise lace un- 
til it went out of fashion, when she learned 


(Rosa Alba), 


m— 


Q 
O 


CARRIERE 


to paint for a livelihood. Studied under | 


Antonio Lazzari, Diamantini, Balestra, and 
others, and at the age of twenty-four be- 
came famous for her miniatures and crayon 
portraits. In 1703 she became a member 
of the Accademia Clementina, Bologna, and 


in 1705 of San Luca, Rome. In company 
with her brother-in-law, Antonio Pellegrini, 
family and many other distinguished per- 
sons, and was received into the Academy. 
honour and in giving her commissions. She 
excelled in painting pretty women, and one 
herself in crayons in the Dresden Gallery, 
where are also many other of her pictures. 
hands, and busts are often weak in drawing. 
Many of her pictures are in 
OB became blind from overwork 
in 1746.—Ch. Blane, Ecole 
riera (Paris, 1865); Seguier, 176; Wessely, 
29 
sur-Marne (Seine-et-Oise); contemporary. 
Genre painter ; pupil of Cabanel. Medal, 
(1879); The Nymph Echo (1880); Kiss of 
Innocence (1882); Two Friends, Marguerite 
CARSTENS, ASMUS JACOB, born at 
St. Jirgen, near 
1754, died in Rome, 
May 26,1798. Ger- 
painter. Im- 
pressed by the pic- 
Ovens, pupil of Rem- 
brandt, in the Cathe- 
determined to be- 
come an artist, and tried in vain to study 


she visited Paris in 1720, painted the royal 
All the courts of Europe vied in doing her 
of her most lovely works is a portrait of 
Her heads are especially good, but her arms, 
the Dresden Museum. She 
vénitienne ; Sensier, Journal de Rosalba Car- 
CARRIERE, EUGENE, born at Gournay- 
3d class, 1885. Works: Young Mother 
(1884); Sick Infant, The Favourite (1885). 
Schleswig, May 10, 
man school ; history 
tures of Juriaen 
dral of Schleswig, 
under Tischbein at Cassel. After five years’ 


apprenticeship to a wine-dealer at Eckern- 
forde, during which he drew and painted in 
his leisure hours, went to Copenhagen (1776) 
and took a partial course at the Academy, 
studied in the Museum, and supported him- 
self by painting portraits. In 1783 went to. 
Mantua, but was obliged to return to Liibcke 
for want of funds. For five years lived by 
portrait painting, then went to Berlin (1787), 
and in 1790 became professor at the Acad-. 
emy of Arts. Having a pension from the 
King, he went to Rome in 1790, exhibited 
his works there in 1795, and won great ap- 
plause. Had many distinguished pupils, such 
as Koch, Schick, Cornelius, ete., and took 
the position of founder of the new German 
school. Works: Death of Aischylus ; Ao- 
lus and Ulysses; Fall of the Rebel Angels ; 
Banquet of Plato; Battle of Rossbach ;. 
Homer ; Return of the Megapenthes ; Soc- 
rates saving the life of Alcibiades; Gany- 
mede and the Eagle; Battle of Centaurs. 
and Lapiths ; didipus in Colonus ; Cidipus. 
Tyrannus.—Allgem. d. Biogr., iv. 29; F. 
von Alten, Der Maler A. J. C. (Schleswig, 
1865); Ch. Blane, Ecole allemande ; Brock--. 
haus, iv. 21; Fernow-Riegel, Carsten’s Le- 
ben und Werke (Hanover, 1867); Grimm, 
Zehn Essays, 218; Miiller- Schuchardt, 
Carstens’ Werke (Leipsic, 1869); Pecht, iii. 
31; Sach, Carstens’ Jugend und Lehrjahre 
(Halle, 1881); Schdne, Beitrige z. Lebens- 
geschichte (Leipsic, 1866); Woltmann, Aus 
vier Jahrhdt., 169; Zahn’s Jahrbiicher, vi. 
99, 208 ; Zeitschr. f. b. K., x. 54; Zimmer-. 
mann, Studien und Kritiken, ii. 273. 

CARTERIUS, painter, about the middle. 
of 3d century z.c. His portrait of the phi- 
losopher Porphyrius has preserved his name 
from oblivion.—Porphyr., Vita Plotini, i. 

CARTERON, EUGENE, born in Paris; 
contemporary. History, genre, and portrait. 
painter ; pupil of B. Glaize and Léon Glaize. 
Medal, 3d class, 1878. Works: Lazarus 
(1877); Prodigal Son (1878); St. Jerome 
(1879); Creation of Eve (1881); Bone-Setter 
(1882); Journeys of St. Sulpice (1848); The: 
Two Processions (1885), 


249 


CARTHAGE 


CARTHAGE, Joseph M. W. Turner, 
National Gallery, London ; canvas, H. 4 ft. 
1lin. x7 ft. 5in. A river scene, with piles 
of rich architecture on each side. Royal 
Academy, 1828. Painted for Mr. Broad- 
hurst. 

CARTHAGE, DECLINE OF, Joseph M. 
W. Turner, National Gallery ; canvas, H. 5 
ft. 7in. xX 7ft. ll in. A scene of malas A 
ural magnificence on each side with an out- 
look upon the sea in centre and the sun set- 
ting in a sombre red gloom; at left, the 
hostages departing for the Roman camp. 
Royal Academy, 1817. Engraved by J. 
Allen in Turner Gallery. 

CARTHAGE, RISE OF, See Dido build- 
ing Carthage. 

CARUCCI, JACOPO. See Pontormo. 

CASADO DEL ALISAL, Don JOSE; 
born in Valencia, contemporary. History 
and genre painter; pupil of Academy of 
Madrid, where he won the prize of Rome 
in 1860, and three Ist class medals. He is 
court painter and director of the Spanish 
Academy in Rome. Order of Isabella the 
Catholic. Works: Death of Ferdinand IV.; 
Bernardo del Carpio; Semiramis; Goya’s 
Studio, J. T. Martin, Brooklyn ; Zaida, 8S. 
A. Coale, St. Louis; Beheaded Arabs; 
Odalisque in Harem ; Flora (1881); Legend 
of King Ramiro, the Monk (1881), National 
Museum, Madrid; In the Boudoir (1882); 
Temptation (1884); Laura (1885). — La 
Tlustracion (1879), i. 8366; (1881), ii. 387; 
(1882), i. 83, 8347; (1884), ii 315; (1885), 
i. 131. 

CASANOVA, FRANCESCO, born in 
London in 1727, died at Brihl, near Vi- 
enna, July 8, 1805. Landscape and bat- 
tle painter ; taken to Venice at the age of 
six and taught by Guardi and Simonini. 
Visited Paris in 1751, and returned there 
after passing four years at Dresden. Became 
member of the Academy in 1763, and was 
employed by Catherine II. of Russia to 
paint her victories over the Turks. Finally 
settled at Vienna. Works: Battle of Fri- 
bourg, Aug. 3, 1644 (1771), Battle of Lens, 


Aug. 20, 1648 (1771); two Landscapes with 

Animals, Louvre ; Battle, Vienna Museum ; 

Turkish Cavalry Marching, Battle, Nantes 

Museum ; Military Halt, Skirmish, Rouen 

Museum ; Starting for the Hunt, The Walk, 

The Hunt, 

Halt dur- 

Cc# ing the 

Hunt, 

Nancy 

Coben g¢ Museun ; 

Battle of 

Lens, Battle of Fribourg, Lyons Museum.— 

Villot, Cat. Louvre ; Ch. Blanc, Ecole fran- 

caise ; Larousse, 11. 485 ; Lejeune, Guide, i. 
424; Wurzbach, i. 301. 

CASELLI (Casoli, Castelli), CRISTOFO- 
RO, of Parma (1489-1507). Lombard 
school. Sometimes called also Cristoforo 
da Parma and Il Temperello. Journeyman 
at Venice in 1489-92, with the Bellini ; 
painted there in 1495 the Madonna and 
Saints, in the sacristy of S. M. della Salute. . 
In 1496 he was a master in Parma, where 
he painted (1499) the Madonna and Saints 
now in the Sala del Consorzio, which ex- 
hibits much of the grace of Cima. Other 
works of his are: Madonna and Saints, 
Parma Gallery; God the Father, in the 
Duomo, Parma, and Adoration of the Magi, 
in 8. Giovanni, Parma.—C. & C., N. Italy, i. 
587; Burckhardt, 588, 603; Vasari, ed. 
Mil. vi. 485. 

CASENTINO. See Jacopo da Casentino. 

CASILE, ALFRED, born in Marseilles; 
contemporary. Landscape painter. Med- 
al, 3d class, 1885. Works: Cliff in Nor- 
mandy (1879); By the Cliffs (1880); Quaran- 
tine Grounds at Marseilles (1881); Field of 
Mars after the Exposition (1882); Quay on 
the Rhone (1883); After the Rain (1884); 
View of Paris (1885). 

CASILEAR, JOHN W., born in New 
York, June 25, 1811. Landscape painter ; 
studied in Europe in 1840 and in 1857. 
Elected an A.N.A. in 1835, and N.A. in 
1851. Studio in New York. Works: 

Lake (1868) ; 


Genesee Meadows (1871) ; 


250 


Swiss — 


CASSANDRA 


September Afternoon (1874); Trout Brook 
(1875) ; Autumn (1876); Scene in New 
Hampshire (1877); View on Shemung 
River (1878) ; View of the Rocky Mount- 
ains (1881); Scene on Long Island (1883); 
Catskill Twilight. 

CASSANDRA, ancient picture. See Polyg- 
notus, Theodorus. 

CASSIOLI, AMOS, born in Siena, Italy, 
in 1838. History painter, pupil of L. Mus- 
sini; won at Florence, in 1868, first prize in 
historical painting, for his picture of Lorenzo 
de’ Medici showing his Art Collection to 
Galeazzo Sforza. Professor at Florence 
Academy. Works: Battle of Legnano, 
Florence Gallery ; Bianca Capello ; Studio of 
Leonardo da Vinci, Provenzano Selvani re- 
ceiving Gifts for Ransom of a Prisoner, Pa- 
lazzo pubblico, Siena. —Miiller, 97. 

CASTAGNO, ANDREA DEL, born at 
Mugello, near Florence, in 1390, died in 
Florence, Aug. 19, 1457. Florentine school ; 
son of a labourer, Bartolommeo di Simone ; 
was observed drawing cattle on flat stones 
by Bernardetto de’ Medici, who, struck with 
his talent, took him to Florence and gave 
him opportunity for study. Baldinucci con- 
jectures that he was apprenticed to Masac- 
cio, but he was more probably taught in the 
school which produced Uccello and Pesel- 
lino. He was an intense realist, full of 
energy and truth to common nature, but a 
hard and inharmonious colourist. The two 
Crucifixions in the monastery of the Angeli, 
Florence, which were pointed out as among 
his earlier works, are vulgar in type, 
hard in line and drapery, and without feel- 
ing. Better are the colossal portraits of 
Heroes and Sibyls which he painted for a 
hall in the Villa Pandolfini at Legnaja, now 
transferred to canvas and in the Uffizi. In painter. His Death of Villamediana (1871), 
1435, Andrea was commissioned by the|Museum Fine Arts, Madrid, was awarded a 
Florentine government to paint upon the | medal at Philadelphia Exposition, 1876. 
walls of the Palace of the Podesta the Peruz- CASTELLO (Castelli), BERN ARDO, born 
zi and the Albizzi, who were declared rebels | at Albaro, near Genoa, 1557, died in Genoa, 
after the return of Cosmo de’ Medici. From Oct., 1629. Genoese school ; pupil of 
this he derived his surname of Andrea degli;/Andrea Semini and of Luca Cambiaso : 
Impiccati (of the Hanged), he having so /| travelled through Italy, and formed a grace- 


represented them. Andrea was employed in 
1444, 1446, and 1455 in the Cathedral, 
Florence, and in 1451 in the hospital of 
S. M. Nuova, where he painted various 
works, a St. Andrew, a Last Supper, and a 
series of frescos in the church choir illus- 
trating the life and death of the Madonna, 
all now destroyed. Vasari accuses Andrea 
of having murdered Domenico Veneziano, 
out of jealousy of the superior talent shown 
by the latter when they worked together at 
S. M. Nuova; but his innocence is fully es- 
tablished by the certainty that Domenico 
survived him four years. Among the works 
of Andrea are the picture of Niccold da 
Tolentino on horseback (1456), Duomo, 
Florence ; Crucifixion (fresco), Loggia of 
Hospital adjoining S. M. Nuova; St. John 
and St. Francis, 8. Croce, Florence ; Por- 
trait, Pitti; Altarpiece, also SS. Jerome and 
John and the Magdalen, Academy, Florence; 
Last Supper, Refectory of S, Apollonia, 
Florence ; Frescos for the Villa Carducci, 
Uffizi, Florence.—Vasari, ed. Mil., ii. 667; 
Chenin O: Italy, ii. 302; Burckhardt, 535; 
Meyer, Kiinst. Lex., i. 693 ; Liibke, Gesch. 
ital. Mal., i. 279, 

CASTAN, GUSTAVE, born in Geneva 
in 1823. Landscape painter, pupil of 
Alex. Calame ; paints attractive landscapes 
of brilliant execution. Works: Souvenir 
of Franche-Comté, Storm in Winter, Lille 
Museum ; Forest in Winter, Langres Mu- 
seum; View near Lancy; Banks of the 
Creuse; Entrance to Forest in Autumn ; 
Easter in Winter; Torrent in the Alps ; 
Lake Lucerne ; Wood-Interior in Autumn 
(1879).—Miiller, 97 ; Larousse. 

CASTELLANO, Don MANUEL, born in 
Spain ; contemporary. History and genre 


251 


CASTELLO 


ful and correct style. Was the friend of 
Tasso, for whose Gerusalemme he made the 
designs engraved 
in part by Agos- 
tino Carracci, and 


was eulogized by 
him. In 1604 he 
was called to 
Rome and paint- 
ed for St. Peter’s 
‘ the Calling of St. 
Peter, for which 
a picture by Lanfranco was afterward sub- 
stituted. His works are mostly in the 
churches of Genoa and its neighbourhood. 
Had three 
sons, Giovan- 
ni Maria, Ber- B A 
nardino, and In, 
Valerio, all 
painters.—Soprani, 115; Lanzi, iii. 250; Ch. 
Blanc, Ecole génoise. 

CASTELLO, CASTELLINO, born in 
Genoa in 1579, died in Turin in 1649. 
Genoese school; pupil of Gio. Battista 
Paggi. Painted many pictures for churches 
in Genoa and elsewhere, but most noted for 
his portraits. When Van Dyck visited 
Genoa, he and Castello reciprocally painted 
each other’s portraits. In 1647 he was ap- 
pointed portrait painter to the court of Sa- 
voy, and removed to Turin. His son Nic- 
cold, who was living in 1668, inherited his 
ability.—Lanzi, iii. 262; Ch. Blanc, Ecole 
génoise ; Soprani, 125. 

CASTELLO, FABRICIO, died in Madrid 
in 1617. Spanish school ; son of Giambat- 
tista Castello (Il Bergamasco) and pupil of 
his elder brother, Nicolas Granelo Castello. 
Painted frescos in the Escorial and the 
Pardo, and became painter to Philip IL in 
1584, and also to Philip I[L—Stirling, 
i, 192 ; Cean Bermudez. 

CASTELLO, FELIX, born in Madrid in 
1602, died there in 1656. Spanish school ; 
pupil of his father Fabricio Castello and of 
Vincenzo Carducho ; painted historical com- 
positions and portraits, Works: Capture of 


a Dutch Fortress by Spaniards, and Disem- 
barkation of Don Fadrique de Toledo at S. 
Salvador, Madrid Museum.—Cean Bermu- 
dez; Quilliet ; Madrazo, 378. 

CASTELLO, GIAMBATTISTA. See 
Bergamasco. 

CASTELLO, NICOLAS GRANELO, 
died in Madrid in 1593. Spanish school ; 
son and pupil of Giambattista Castello (I 
Bergamasco). Named painter to Philip II. 
in 1571; executed in 1584, with Taboron 
and Cambiaso, in the Escorial, a fresco of 
the Battle of St. Quentin, and in 1587, with 
Taboron, the Battle of Higuernela; also 
painted other frescos in ducal palace at 
Alba de Tornus.—Stirling, i. 192; Cean 
Bermudez. | 

CASTELLO, VALERIO, born in Genoa 
in 1625, died there in 1659. Genoese 
school ; son of Bernardo Castello ; pupil of 
Gio. Andrea de’ Ferrari and of Il Sarzana ; 
studied works of masters in Milan and 
Parma, Formed an excellent style of his 
own ; painted in both oil and fresco, but 
excelled in latter. Subjects chiefly relig- 
ious, but painted also battles. Works in 
churches and palaces in Genoa. His Rape 
of the Sabines is in the Palazzo Brignole- 
Sale, Genoa; a smaller example, somewhat 
varied, in the Uffizii—Lanzi, iii. 259; Ch. 
Blane, Ecole génoise. 

CASTIGLIONE, BALDASSARE, Count, 
portrait, Raphael, Louvre ; wood transferred 
to canvas, H. 2 ft. 8in.x2ft.2 in. Half- 
length, three-quarters, turned to left, with 
beard and moustaches; in black vest and 
cap and gray doublet. Painted in Rome 
about 1516 ; passed from Collection of Duke 
of Mantua to Charles I. of England, after 
whose death bought by Lopez of Amster- 
dam. Copied at this time by Rubens; 
Rembrandt also made a sketch of it, now in 
Albertine Collection, Vienna, and R. Persyn 
engraved it. Passed to Cardinal Mazarin, 
from whose heirs bought for Louis XIV. 
Another portrait by Raphael, bust, painted — 
in 1519, probably that in Torlonia Gallery, 
Rome, Louvre picture engraved by J. 


252 


CASTIGLIONE 


Godefroy ; Nic. Larmessin ; Bautrois ; Sen- 
ter ; Nic. Edelinck.—Villot, Louvre ; Filhol, 
v. Pl. 359; Mintz, 534; Springer, 253, 
509 ; Cab. Crozat, i. Pl. 13. 
CASTIGLIONE, GIOVANNI BENE- 
DETTO, born 
in Genoa in | aa 
1616, died in 


colouring, Il 
Grechetto (Lit- 4 ‘ 
tle Greek); and 
in France I] 
Benedetto. Pupil of Gio. Battista Pagei 
and of Gio. Andrea de’ Ferrari. Soprani 
says he also had lessons of Van Dyck, but as 
he was only nine years old when that painter 
left Genoa it is probable that he merely 
studied his works. Castiglione painted in 
Florence, Rome, Venice, Naples, Bologna, 
and Mantua, in which city he entered the 
service of Duke Charles I. about 1654. He 
soon won a great reputation, and received 
orders even from France, England, and Ger- 
many. Though he painted large histori- 
cal works, he is best known by his cabinet 
pictures, especially landscapes and pastoral 
pieces, in which he frequently introduced 
animals. He left about seventy etchings. 
His brother Salvatore and his son Francesco 
were his pupils and imitators, Among his 
best examples are : Nativity, S. Luca,Genoa : 
Madonna with Saints showing true effigy of 
St. Domenic to a monk of his order, S. M. 
di Castello; Christ on the Cross and St. Ber- 
nard, S. Martino, Genoa; Abra- 
ham and Melchisedec, Adoration, 
Expulsion from the Temple, Car- 
avan, Bacchantes and Satyrs, 
Birds and Animals, Louvre, Par- 
is; Noah entering the Ark, Dresden Gallery, 
Munich Gallery, and Uffizi, Florence.—Bal- 
dinucci, v. 206; Soprani, 223; Lanzi, iii. 273; 
Seguier, 41; Ch. Blanc, Ecole génoise. 


s. CAE hi; — a Sy 
Mantua in 1670. iS CLS) ae 
sg AOS: 4 Se a | 
Genoeseschool. 4-370 gt eee 
257 NERS 
Called on ac- ( Ks: oS SI IY) KS 
g S Kis YP} poe eeeS Sy zd/}\ \8 on 
count of the nae : eu ALG (GESe 
beauty of his ANS 8k 2: 


CASTIGLIONE, GIUSEPPE, born in 
Naples ; contemporary. Genre and portrait 
painter. Lives in Paris, Works: Visiting 
the Cardinal Uncle, The Warrants, Phila- 
delphia Exposition, 1876; Terrace of Pa- 
lazzo Reale at Naples, Duel without Wit- 
nesses (1877) ; Paroquet’s Lesson (1878) ; 
Plucking the Rose, W. H. Fosdick, Louis- — 
ville ; Prospect, W. B. Bement, Philadelphia ; 
Soldiers of Cromwell in Haddon Hall, Visit- 
ing the Cardinal Uncle, Paris Exposition, 
1878. 

CASTILLO, AUGUSTIN DEL, born in 
Seville in 1565, died in Cordova in 1626. 
Spanish school; pupil of Luis Fernandez ; 
painted in fresco and oil, chiefly in Cordova. 
Works: Adoration of the Magi, Cathedral, 
Cadiz; Conception, Cathedral, Cordova.— 
Stirling, i. 460; Viardot, 185; Ch. Blane, 
Ecole espagnole. 

CASTILLO, JUAN DEL, born in Seville 
in 1584, died in Cadiz in 1640. Spanish 
school; younger brother of Augustin del 
Castillo ; pupil of Luis Fernandez. Chiefly 
noted as the master of Moya, of Alonso Ca- 
no, and of Murillo. Works: Marriage of the 
Virgin, Nativity, Assumption, Visitation, An- 
nunciation, Seville Museum, — Stirling, i. 
460; Ch. Blane, Ecole espagnole ; Viardot, 
186. 

CASTILLO Y SAAVEDRA, ANTONIO 
DEL, born in Cordova in 1603, died there 
in 1667. Spanish school; son and pupil of 
Augustin del Castillo, after whose death he 
studied in Seville under Zurbaran. Became 
a popular portrait painter in Cordova; also 
executed some religious compositions, good 
in design but faulty in colouring. Vigorous 
style, with effects worthy of Caravaggio, 
Said to have died of despair on seeing Mu- 
rillo’s pictures in Seville. Works: Adora- 
tion of Shepherds, Madrid Museum ; others 
in churches and convents of Cordova, the 
best at the Cathedral and in convents of St. 
Francis and St. Paul ; Visitation, Hermitage, 
St. Petersburg.—Stirling, ii. 807 ; Viardot, 
187; Ch. Blanc, Ecole espagnole; Curtis, 
345 ; Madrazo, 381. 


253 


CASTOR 


CASTOR AND POLLUX, Rubens, Mu- 
nich Gallery ; canvas, H. 7 ft. 4 in. x 6 ft. 10 
in. Castor and Pollux carrying off Hileeira 
and Phoebe, daughters of Leucippus. One 


of them, mounted on a noble horse, the 
reins of which are held by Cupid, is lifting 


Alpine scenery, and to Rome in 1812, where 
his talent developed through intercourse 
with Koch, Overbeck, Schadow, and Corne- 
lius.. With the exception of occasional home 
visits, he remained in Italy, and from 1830 
lived at his country seat near Macerata. 
His landscapes with architectural accessories 
are broadly treated, and effective in chiaros- 
curo. Works: Colonnade of St. Peter’s by 
Moonlight ; Storm on Etna ; Monastery near 
Salerno; Interior of Pantheon; The Via 
Appia; View from Cloister at Amalfi ; Gon- 
dolas on the Lagoon ; View of Rome ; Crater 
of Vesuvius; Ruins of Pestum; Villa of 
Mecenas at Tivoli. Other pictures in Ber- 
lin, Munich, and Copenhagen Galleries.— 
Allgem, d. Biogr., iv. 70; Riegel, 533. 
CATENA, VINCENZO, born at Treviso 
about 1465, died in Venice, 1531. Venetian . 


<||school; real name, Vincenzo di Biagio; 
SN] 


known in 1495, when a journeyman in the 


ty 
@ | Sala del Gran Consiglio, Venice, as Vincen- 


Castor and Pollux, Rubens, Munich Gallery, 


up one of the women, aided by his brother, 
who is holding the other one upon his knee. 
Engraved by Val. Green.—Smith, ii. 63. 

CASUAL WARD, Luke Fildes, Holloway 
Institute, Egham, near London. A group 
of wretched and deformed creatures waiting 
for admission to a resting place for the 
night. Wonderfully realistic. Royal Acad- 
emy, 1874; Philadelphia Exposition, 1876 ; 
Paris Exposition, 1878; sold to Thos. Tay- 
lor, of Wigan; Taylor sale (1883), £2,205.— 
Art Journal (1874), 201; Portfolio, May, 
1878. 

CATEL, FRANZ LUDWIG, born in Ber- 
lin, Feb. 22, 1778, died in Rome, Dec. 19, 
1856. German school ; landscape painter. 
Beginning as wood-carver and illustrator of 
‘books, he practised water-colour, and in 
1806 painted the assassination of Nicholas 
von Bernau, for which he was elected mem- 
ber of the Berlin Academy. Went to Paris 
in 1807, where he commenced oil painting, 
to Switzerland in 1811, where he studied 


zo da Treviso. A pupil of the Bellini, he ~ 
copied Giovanni Bellini, without approach- 


‘ing him in drawing, boldness of treatment, 


or richness of colouring; but he was a 
painter of great industry and considerable 
reputation, and made friends among the 
wealthy. Among his earlier pictures are a 
Presentation of Christ to Simeon, Commu- 
nal Gallery, Padua; a Madonna and Saints, 
Liverpool Institution; and a Trinity, S. 
Simeone, Venice. His skill increased with 
the opening of the 16th century, as is shown 
in his Madonna and Doge Loredano, Palazzo 
Ducale, Venice. His portrait of Loredano, 
Lochis-Carrara Gallery, Bergamo, is as- 
signed to Gentile Bellini, and the copy at 
Dresden to Giov. Bellini. In 1520 Catena 
finished the Glorification of St. Christina, in 


V iccosdhina ae 


J tax u- 
S. M. Mater Domini, Venice. Other pict- 


ures by him are: Madonna and Saints, 
Dresden Gallery ; Circumcision, Leuchten- 


254 


CATHERINE 


berg Collection, St. Petersburg ; Glory of 
St. Francis, 8. Giovanni e Paolo, Venice ; 
and several in the Venice Academy. 

per ttalye i. 247: Ch. Blanc, 
Ecole vénitienne ; Vasari, ed. Mil., iii. 628 ; 
Burckhardt, 601 ; Liibke, Gesch. ital. Mal., 
i. 549. 

CATHERINE, ST., Raphael, National 
Gallery, London ; wood, H. 2 ft. 4 in. x1 ft. 
94 in. St. Catherine of Alexandria, stand- 
ing, leaning upon the wheel, one hand on 
her heart, her eyes raised heavenward, 
whence rays of light proceed ; background, 
a landscape with hills and a lake. Painted 
in Florence in 1507. In the Aldobrandini 
and Borghese collections ; bought from lat- 
ter, end of last century, by Mr. Day, who 
sold it to Lord Northwick for £2,000; 
bought from Beckford for National Gallery 
in 1889. Surface injured by cleaning. Copy 
in Trubetzkoy Collection, St. Petersburg. 
Studies in the Louvre and at Chatsworth. 
Engraved by Marc Antonio; A. B. Desnoy- 
ers; Leroux.—C. & C., Raphael, i. 340; 
Gruyer, Vierges de Raphael, iii. 579; Pas- 
savant, 11. 56; Miintz, 229; Richter, 55. 

By Guido Reni, Turin Gallery ; canvas, 
H. 3 ft. x2 ft. 6 in. St. Catherine, seated, 
seen to knees, with a lamb in her lap and a 
palm in her hand. Engraved by D. Testi. 
—Gal. di Torino, ii. Pl. 86. 

CATHERINE, ST.,, IN ECSTACY, Ales. 
Tiarim, Bologna Gallery ; canvas, H. 7 ft. x 
4 ft. 7in. St. Catherine of Siena, support- 
ed by two angels, about to kneel before a 
crucifix. Formerly in church of the con- 
vent of 8S. M. Maddalena. Engraved by N. 
Mellini ; A. Marchi.—Pinac. di Bologna, PI. 
27. 

CATHERINE, ST., MARRIAGE OF, Fra 
Bartolommeo, Louvre ; wood, H. 8 ft. 5 in. 
x7 ft. 6 in.; signed, dated 1511. The Vir- 
gin, enthroned, attended by SS. Peter, 
Bartholomew, Vincent, and others, holding 
palms, presides at the mystic marriage of 
Jesus with St. Catherine, who kneels before 
her ; behind her, to right, SS. Francis and 
Dominic embracing ; above, angels sustain 


the curtains of the canopy. Painted for S. 
Marco, Florence; presented in 1512 to 
Jacques Hurault, Bishop of Autun, ambas- 
sador of Louis XII. to Florentine Republic ; 
long in sacristy of Cathedral of Autun ; re- | 
moved in 1801 to Musée Napoléon ; be- 
longed to collection of Francis I.—Landon, 


Marriage of St. Catherine, Fra Bartolommeo, Louvre, 


Musée, 2d Col., iii. Pl. 56; Villot, Louvre ; 
C. & C., Italy, iii. 451; Vasari, ed. Mil, iv. 
184. ; 

By Boccaccio Boccaccino, Venice Acad- 
emy; wood, H. 2 ft. 10 in. x 4 ff. 7 ain: 
signed. The Virgin sitting, holding Jesus, 
who gives the ring to kneeling St. Cather- 
ine; St. Rose, standing; SS. Peter and 
John Baptist kneeling.—C. & C., N. Italy, 
ii. 445, 

By Correggio, Capitol Museum, Rome.. 
The Virgin, with Jesus on her knees, seated 
under a tree in a landscape ; at right, St. 
Catherine, kneeling, with a palm in her 
hand, is receiving the ring from the child; 
at her feet is part of the wheel and a sword.. 
Replica in Naples.—Righetti, Campidoglio, 
ii, Pl. 273. Bee 

By Correggio, Louvre ; wood, H. 3 ft. 5 
in. x3 ft, 4 in. St. Catherine receives a, 


255 


CATHERINE 


ring from Jesus, who is seated on knees of 
Virgin ; behind her is St. Sebastian with 
arrows ; in background the martyrdom of 
the two saints. Painted, it is said, on the 
occasion of the marriage of the painter’s 
sister, Caterina Allegri, in 1519. In posses- 
sion of Dr. F. Grillenzoni, Modena, in 1530- 
35 ; passed thence to Cardinal Luiji d’Este 
and later to Countess Santa Fiora, and to 
Cardinal Fr. Sforza di S. Fiora, Rome ; in 
1650 belonged to Cardinal Barberini, who 
took it to France and gave it to Cardinal 


Marriage of St. Catherine, Correggio, Louvre, 


Mazarin ; valued in his inventory at 15,000 
livres ; and sold by his heirs to Louis XIV. 
Replicas, with variations, in Louvre, Naples 
Museum, and Hermitage. Engraved by 
Picart ; Massard ; Capitelli; Duthé ; Folo; 
H. Dupont (1867).—Meyer, Correggio, 322, 
484; Kinst. Lex., i, 432 ; Musée Royal, i. 
Pt. 1; Landon, viii. Pl. 20; Villot, Louvre ; 
Vasari, ed. Mil., iv. 116, vi. 471 ; Filhol, vii. 
Pl 439; Kugler (Eastlake), ii. 502. 

By Anton van Dyck, Buckingham Pal- 
ace ; canvas, H. 3 ft. 8 in. x3 ft.10 in. The 
Virgin seated at right, with infant Saviour 
on her knee, holds in her right hand a 
‘wreath of flowers to crown St. Catherine, 
who, bowing in adoration, extends her 


right hand to receive the ring, while her 
left, holding a palm branch, rests on a 
broken wheel. The beauty of the Virgin 
gave this picture the title of La plus belle 
des Vierges. Formerly in Collection of 
Chevalier de Burtin, at Brussels, at whose 
decease taken to England in 1820 and sold 
to king for 2,500 guineas. Engraved by 
Lommelin.—Smith, iii. 69. 

By Lorenzo Lotto, Lochis-Carrara Gallery, 


Bergamo ; canvas, figures under life size; 


signed, dated 1523. St. Catherine kneels 
before the Virgin, and Jesus presses forward 
to give her the ring; an angel stands with 


folded arms; at left Nicolé de Bonghi sits © 


attentive. Landscape seen through an open- 
ing on right cut out and stolen ; its place 
now filled by a piece of dark canvas. Prob- 
ably painted for Zanin Casotto of Bergamo. 
—C. & C., N. Italy, ii. 513; Ridolfi, Mara- 
viglie, i. 186 ; Rio, i. 289. 

By Bernardino Luini, Poldo-Pezzoli Mu- 
seum, Milan. The Virgin, standing, sup- 
ports the infant Jesus, who, sitting upon a 
cushion placed upon a table, places the 
ring upon the finger of St. Catherine ; stand- 
ing at left.—Art Journal (1884), 23. 

By Hans Memling, Hospital of St. John, 
Bruges; triptych. The Virgin, enthroned 
under a portico, with angels above about to 


crown her, holds the infant Jesus, who 


bends to give a ring to St. Catherine kneel- 
ing; at right and left, the Baptist, Evange- 
list, and St. Barbara, standing; an angel 
plays an organ, another holds a missal ; be- 
hind St. Catherine, a monk of St. Augustine, 
and further back another monk with a 
gauge for wine and spirits ; in background, 
episodes in life of St. John. On right wing, 
Salome receives the Baptist’s head and 
dances before Herod ; on left, Vision of St. 
John Evangelist. Copy, owned by Mrs. 
Davenport, exhibited at Royal Academy, 
London, 1884.—C. & C., Flemish Painters, 
251; Art Journal (1884), 60. 

By Murillo, Capuchin Church, Cadiz ; 
canvas, H. 13 ft. 9 in. x10 ft. 8 in. ‘Fhe 
Virgin, seated on a platform in front of two 


256 


—— on 


CATHERINE 


columns on right, holds on her lap the In- 
fant Jesus, who is about to place a ring on 
the finger of St. Catherine kneeling; be- 
hind the Virgin, three angels; behind St. 
Catherine, two angels ; in front, three cher- 
ubs, and a sword and broken wheel ; above, 
angels and cherubs in a glory. Painted 
in 1682, the last work of Murillo; while 
working upon it he stumbled on the scaffold 
and died from the effects of the fall. This 
picture, one of the richest and most grace- 
ful of Murillo’s compositions, is the centre 
of an immense altarpiece (20 x 24 ft.) which 
fills the arch at the end of the convent 
church. After Murillo’s death, part of the 
glory was finished by Meneses Osorio, who 
also painted the four lateral pictures, prob- 
ably after Murillo’s designs. Etched by E. 
St. Raymond.—Curtis, 221; Palomino, iii. 
421; Ponz, Viage, xviii. 20. 

By Murillo, Vatican, Rome; canvas, H. 3 
ft. 6 in.x4ft.4in. The Virgin, seated on 
right, holds Jesus on her lap; he places 
the ring on the finger of St. Catherine, who 
bends reverently forward to receive it. Pre- 
sented in 1855 by ex-Queen Christina of 
Spain to Pius IX.—Curtis, 222. 

By Andrea Previtali, sacristy of S. Giobbe, 
Venice ; wood, figures half length, a little 
more than half life-size. The Virgin seated ; 
Jesus, on her lap, holds out the ring to St. 
Catherine ; on other side the Baptist. Com- 
monly attributed to Giov. Bellini. Replica, 
signed and dated 1504, in Collection of 
Sir Charles Eastlake, London.—Zanotto, 
Pinac. Ven., Pl. 25; C. & C., N. Italy, i. 
275 ; Waagen, Treasures, 11. 265. 

By Rubens, Ch. of Augustins, Antwerp ; 
canvas, H. 15 ft.x11 ft. The Virgin en- 
throned, holding infant Saviour, who is 
bending forward to place the ring on the 
finger of St. Catherine ; behind the Virgin, 
St. Joseph; on her right, SS. Peter and 
Paul; on her left, St. John with two angels 
and the lamb; below, SS. Sebastian, Au- 
gustine, Lawrence, Paul the Hermit, and 
George, the last in armour. Sir J. Rey- 
nolds calls it one of the most considerable 


of the works of Rubens. Engraved by Sny- 
ers ; Kynhouedts.—Smith, ii. 24 ; Beechey, 
Reynolds, ii. 173. 

By Rubens, Duke of Rutland, Belvoir 
Castle ; canvas, H. 8 ft. 6 in. x 7 ft. The 
Virgin seated, holding Jesus, who bends 
forward to place a crown on the head of 
St. Catherine, who is kneeling ; behind her 
stands St. Agnes, and opposite are St. Chris- 
tina and St. Margaret; four angels, one 
with a thunderbolt, the others with crowns 
and palms. Sold in 1766 by the Order of 
St. Augustines, Mechlin, to Chevalier Ver- 
hulst, for 9500 florins ; at his sale, 12,705 
florins. Engraved by P. de Jode; Alex. 
Voet.—Smith, ii. 47; ix. 256. 

By Pellegrino Tibaldi, Bologna Gallery ; 
wood, H. 6 ft. 8 in. x4 ft. 5. in. The Vir- 
gin seated, holding the Child, who gives 
the ring to St. Catherine ; at right, St. Jo- 
seph ; background of architecture. For- 
merly in church of the Misericordia, Bo- 
logna. Engraved by Ant. Marchi.—Pinac. 
di Bologna, Pl. 22. 

By Paolo Veronese, S. Caterina, Venice. 
The Virgin enthroned at left, with Jesus on 
her knees, surrounded by many angels 
singing and playing musical instruments ; 
St. Catherine kneeling to receive the ring; 
about, at right, a glory of angels and of 
cherubim. Painted in 1572. Engraved 
by Agos. Carracci (1582).—Zanotto, 313 ; 
Bartsch, xviii. 90. 

Subject treated also by Giuliano Bugiar- 
dini, Bologna Gallery ; Alessandro Tiarini, 
Bologna Gallery ; Ludovico Cigoli, Her- 
mitage, St. Petersburg; Domenico Feti, 
Vienna Museum ; Giulio Cesare Procaccini, 
Hermitage, St. Petersburg ; Titian, Palazzo 
Pitti, Florence ; Guercino, Galleria Estense, 
Modena; Andrea del Sarto, Dresden Gal- 
lery ; Lorenzo Lotto, Munich Gallery ; Par- 
migianino, Parma Gallery ; Michael Wobhl- 
gemuth, Munich Gallery ; Jakob Jordaens, 
Madrid Museum ; Ambrogio Borgognone, 
National Gallery, London. 

CATHERINE, ST., MARTYRDOM OF, 
Guercino, Hermitage, St. Petersburg. The 


257 


CATHERINE 


Saint, dressed in a yellow tunic and a rich 
red mantle lined with blue, kneels before 
the executioner, who wears a red cap and 
holds a drawn sword ; to left, the wheel ; in 
the sky, an angel with palm and crown ; in 


Conspiracy of Cataline, Salvator Rosa, Palazzo Pitti, Florence. 


background, a landscape with bridge and 
tower. 

CATHERINE OF SIENA, ST., CORO- 
NATION OF, Pietro Francesco Bissolo, Ven- 
ice Academy; wood (?), H. 12 ft. x8 ft. 3 
in.; signed. St. Catherine kneels before 
Christ, who places the crown of thorns on 
her head ; in attendance are angel Raphael 
and Tobit, Mary Magdalen, and SS. Peter, 
James, and Paul; above, the Eternal and 
cherubs. Originally in 8. Pietro Martire, 
Murano. Bissolo’s masterpiece as a compo- 


sition, but repainted, —Zanotto, Pinac. Ven., |} 


Pl. 10; C. & C, N. Italy, i. 289. 
CATILINE, CONSPIRACY OF, Salvator 

fosa, Palazzo Pitti, Florence ; canvas, H. 5 

ft.x 5 ft. 11 in. A group of armed men 


standing around an altar; Lentulus and|/{ 


Cethegus, with hands clasped, are mingling 
their blood in a chalice, to strengthen their 
oaths; the figure in shadow, with a band 
around his hair, is Catiline, near whom 
stands Quintus Curtius. Duplicate in Casa 


Martelli, Florence.—Gal. du Pal. Pitti, i. Pl. 
73 ; Rosini, vi. 168. ~ 

CATLIN, GEORGE, born at Wilkesbarre, 
Pa., July 26, 1796, died in Jersey City, N. J., 
Dec. 23, 1872. Portrait painter, self-taught ; 
! began his professional life in 
Philadelphia. In 1832-38 he 
visited the Indians of the 
Yellowstone River, Indian 
Territory, Arkansas, and 
Florida; 
travelled in South and Cen- 
tral America, after which he 
lived in Europe until 1871. 
Mr. Catlin painted 470 full- 
length portraits of Indians 
and many pictures illustra- 
tive of their life and customs 
which were exhibited in the 
United States and in Europe. 
They are now in the Nation- 
al Museum, Washington. 

CATO, DEATH OF, 
Charles Lebrun, Louvre, 
Paris ; canvas, H. 3 ft. 2 in. 
x4ft.4in. Cato dying on his bed, holding 
in his right hand the Pheedo of Plato, which 
he had read before stabbing himself with 
the sword lying beside him ; in background, 


the heads of a man weeping and of a sol- 


dier. (Plutarch.) Painted at Lyons about 
1645.—Landon, Musée, xi. Pl. 22. 


258 


and in 1852-57 


ee 


ee ee 


CAT’S 


CAT'S PAW, Sir Edwin Landseer, Earl 
of Essex, Cassiobury; wood. A monkey has 
grasped a cat, and notwithstanding her 
struggles is using her paw to remove some 
roasting chestnuts from the top of a hot 
stove ; in background, a table with a kitten 
upon it beside a basket, out of which another 
frightened kitten is peeping. British Insti- 
tution, 1824; sold for £100 and bought a 
few days afterward by Earl of Essex for 
£120. Engraved by C. G. Lewis. —Stephens, 
52; Landseer Gallery. 

CATTANIO, COSTANZO, born in Ferra- 
ra in 1602, died in Rome in 1665. Lombard 
school ; pupil of Guido; was a bravo, often 
in exile or in defiance of the authorities, and 
his pictures frequently bear marks of his 
character. He painted soldiers and ruffians, 
but some of his works are more in keeping 
with the style of his master. Among the 
latter are a St. Anthony in the church of 
Corlo, and a Last Supper in the refectory of 
S. Silvestro, Ferrara. — Lanzi, iii. 220; Ch. 
Blanc, Ecole ferraraise. 

CATTERMOLE, GEORGE, born at 
Dickleburgh, near Diss, England, Aug. 8, 
1800, died at Clapham Common, July 24, 
1868. History painter, water-colours ; 
studied architecture and became early a 
book illustrator, in which he exhibited much 
archeological and architectural skill. About 
1830 he began to paint in water-colours, be- 
came a member of the Society of Painters 
in Water Colours, and contributed to their 
exhibitions until 1850, when he withdrew. 
He was awarded one of the two first class 
medals (the other, Landseer) at Paris in 
1855, and was a member of the Royal Acad- 
emy of Amsterdam and of the Belgian So- 
ciety of Water Colour Painters. Works: 
Sir Walter Raleigh witnessing the Execution 
of Essex, Old English Hospitality (1839) ; 
The Castle Chapel (1840); Hamilton of Both- 
wel Haugh preparing to shoot the Regent 
Murray, After the Battle of Newbury (1843); 
Visit to the Monastery, Benvenuto Cellini 
defending the Castle of St. Angelo (1845); 
The Unwelcome Return (1846), In 1862 he 


exhibited an oil picture, A Terrible Secret, 
at the Royal Academy. Charles Cattermole, 
his nephew, paints in both oil and water- 
colours. — Redgrave ; Art Journal (1857), 
209 ; (1868), 180 ; (1870), 92. 

CAUCIG, FRANZ, born in Goritz, Dec. 3, 
1762, died in Vienna, Nov. 18, 1828. German 
school ; history painter. First taught in Vi- 
enna, then spent seven years in Italy, where ~ 
he studied the Carracci in Bologna and in 
Rome. Revisited Italy in 1791, and remained 
six years, studying especially Titian in Ven- 
ice. In 1799 he was appointed professor and 
in 1820 director at the Vienna Academy. His 
subjects, taken principally from Greek my- 
thology and the Old Testament, are aca- 
demic in treatment, and though good in 
drawing are weak in colour. Works: Solo- 
mon’s Judgment, Museum, Vienna; others 
at the Academy and in Liechtenstein, Schon- 
born, and Czernin Galleries, ib.; Sappho, 
Prague Gallery ; Death of Portia, Orpheus 
at Eurydice’s Tomb, Joanneum, Gratz. — 
Allgem. d. Biogr., iv. 75; Wurzbach, it 
312. 

CAULITZ, PETER, born in Berlin about 
1650, died there in 1719. German school ; 
landscape and animal painter; studied in 
Rome; painted chiefly Italian landscapes 
and animal pieces, in the Dutch style. 
Works: Chicken Yard, Berlin Museum; Two 


i Catlite. fecit. 


Landscapes with Temple Ruins, and Bridge, 
Brunswick Museum; others at the Royal 
Castles in Berlin and Potsdam.—Allgem. d. 
Biogr., iv. 76. 

CAUSIERS. See Cossiers. 

CAVAZZOLA, or CAVAZZUOLA. See 
Morando, Paolo. 

CAVEDONE, GIACOMO, born at Sassu- 
olo in April, 1577, died in Bologna in 1660. 
Bolognese school ; son of a poor apothecary, 
became page to an art amateur, who placed 
him in the school of the Carracci, and after- 
ward in that of Passarotti. Studied in 


259 


CAXES 


Venice the works of Titian, and acquired a 
style of colouring in advance of most of his 
school. Painted in Bologna, for churches, 
works considered almost equal to those of 
Annibale Carracci. In 1610 went to Rome 
and became assistant to Guido, but home- 
sickness soon took him back to Bologna. 
He bade fair to become famous, when family 
afflictions affected his mind, and he died 
a beggar. Among his works are: Madonna 
in Glory and Saints Alo and Petronius, Bo- 
logna Gallery ; Adoration of Shepherds and 
Kings, S. Paolo, Bologna; Apotheosis of 8S. 
Benedict, S. Michele in Bosco; Madonna 
and Saints, S. M. delle Laudi ; Nativity, SS. 
Filippo and Giacomo; St. Anthony and 
Prophets, S. Benedetto; Pieta, Angel and 


J Cave te 


Dead Christ, Munich Gallery.—Malvasia, ii. 
143 ; Lanzi, iii. 122; Burckhardt, 764, 785, 
794, 796; Gualandi, Guida, 124, 150; Ch. 
Blanc, Ecole bolonaise. 

CAXES, EUGENIO, born in Madrid in 
1577, died there in 1642. Spanish school; 
son and pupil of Patricio Caxés; employed 
with his father by Philip III. in the Pardo, 
and in 1612 appointed one of the king’s 
painters. Painted many works in churches 
and convents in Madrid and Toledo. Works: 
Disembarkation of English under Lord 
Wimbledon at Cadiz, Virgin and Child, Mad- 
rid Museum ; Fall of Rebel Angels (1605), 
Copenhagen Museum.—Stirling, i. 428; Ch. 
Blane, Ecole espagnole; Madrazo, 383. 

CAXES, PATRICIO, born at Arezzo, Italy, 
died in Madrid in 1612. Spanish school; 
real name Cajesi; went to Spain with Cinci- 
nato, Spanish ambassador, in 1567, at invita- 
tion of Philip IL, and painted frescos in the 
Alcazar and in the Pardo, Madrid. Trans- 
lated into Spanish Vignola’s book on the 
Five Orders. Also employed by Philip TIL, 
in whose service he died.—Stirling, i. 195 ; 
Ch. Blane, Ecole espagnole. 

CAZES, PIERRE JACQUES, born in 


Paris in 1676, died there, June 25, 1754, 
French school; history painter, pupil of 
René Antoine Houasse and of Bon Boul- 
logne ; became member of the Academy in 
1703, professor 1718, rector 1743, director 
1744, chancellor 1746. Painted many altar- 
pieces for churches in Paris and the prov- 
inces, also historical and mythological scenes, 
in the then prevailing style of conven- 


tional elegance. Works: St. Peter reviving 


Tabitha, 


Caz Pare pt io 


Cup found. 


in Benja- 
min’s Sack (1698) ; Vision of Jacob in Egypt 
(1699) ; Triumph of Hercules over Achelotis 
(1703).—Ch. Blane, Ecole francaise ; Villot, 
Cat. Louvre. 

CAZES, ROMAIN, born at St. Béat, (Haute- 
Garonne), in 1810, died in 1881. French 
school; history painter, pupil of Ingres. 
Medals: 3d class, 1839, 1863 ; L. of Honour, 
1870. Works: Rebecca at the Well (1840); 
Infant Christ asleep (1845); Ascension (1846); 
Three Ages of Man (1859); Departure of 
the Apostles (1870) ; Three Theological Vir- 
tues (1877); Sappho (1878) ; Well at Fonta- 
rabia, Spain (1879) ; Frescos in St. Francis 
Xavier's, Paris, and in the Church at Bagn- 
eres-de-Luchon.—Miiller, 98. 

CAZIN, JEAN CHARLES, born at Samer 
(Pas-de-Calais); contemporary. History and. 
genre painter ; pupil of Lecoq de Boisbau- 
dran. Medal, 1st class, 1880; L. of Honour, 
1882. Works: Dock-Yard (1876); Flight 
into Egypt (1877); Art (1879); Ishmael, 
Tobias (1880); Souvenir de Féte (1881) ; 
Judith (1883). 

CECILIA, ST., John Singleton Copley, W. 
S. Appleton, Boston; signed, dated 1806. 
Portrait of Mrs. R. 8. Derby; dressed in 
white picked out with gold, playing on the 
harp, with angels in the air above.—A. T. 
Perkins, 50. 

By Carlo Dolci, Dresden Gallery ; canvas, 
H. 3 ft. 3 in. x2 ft. 8 in. St. Cecilia, half- 
length, playing the organ. Painted for 


260 


ee 


CECILIA 


Grand Duke Cosmo III, who presented it 
to the Grand-Treasurer of Poland; bought 
in 1742 for 1,600 livres from collection of 
Prince Carignan, Paris. Engraved by P. A. 
Kilian.—Gal. Roy. de Dresde, i. Pl. 43. 

By Domenichino, Louvre ; canvas, H. 5 ft. 
3 in. x3 ft. 10in. St. Cecilia, a little more 


than half-length, standing, singing to the 
accompaniment of a bass viol; an angel be- 
fore her holds upon his head a book of mu- 
sic. 


Painted for Cardinal Ludovisi; taken 


St. Cecilia, Domenichino, Louvre. 


to France by Sieur de Nogent, who sold it 
to Jabach, from whom it was bought by 
Louis XIV. Engraved by E. Picart ; J. 
Gottard ; Muller.—Musée frangais, i. Part 
4: Filhol, v. 332; Landon, Vies, Pl. 3; Vil- 
lot, Cat. Louvre. 

By Guercino, Louvre ; canvas, H. 4 ft. x 
3 ft.3 in. Three quarters length, seated, 
playing an organ. Another St. Cecilia by 
Guercino, Dulwich Gallery, England.—Vil- 
lot, Cat. Louvre. 

By Raphael, Bologna Gallery ; canvas, H. 
7 ft. 3 in.x4 ft. 7in. St. Cecilia, standing 


between SS. Paul and John, and SS. Au- 
gustine and Mary Magdalen, with musical 
instruments at her feet; she holds in her 
hands an organ, the instrument of religious 
music, and listens with rapture to a choir of 
six angels singing in the heavens above. 
Ordered by Lorenzo Pucci, Cardinal of 
Santi Quattro, in 1513, but not finished 
until 1516-17, when it was placed in the 
chapel of St. Cecilia, in S. Giovanni in 
Monte, Bologna, which had been built by 
Cecilia Duglioli dell’ Oglio, a kinswoman of 
the Cardinal’s. Vasari says the musical in- 
struments in the picture were painted by 
Giovanni da’ Udine. Carried to Paris in 
1796 ; transferred to canvas by Hacquin in 
1803 ; returned to Italy in 1815, recleaned, 
and placed in the Gallery. Much damaged 
by repainting. Many copies: one, by Dio. 
Calvaert, in Dresden Gallery ; another, by 
Guido Reni, in 8. Luigi de’ Francesi, Rome. 
Engraved with variations by Mare Antonio. 
Engraved also by Bonasone (1531), Galli 
(1761), Strange (1771), David, Massard, Ro- 
saspina, Beisson, Bovinet, Gandolfi (1835), 
Pelée (1852), Lefebvre (1857), Landon.— 
Vasari, ed. Mil., v. 349; Gruyer, Vierges de 
Raphael, iii. 583 ; Pinac. di Bologna, Pl. 1 ; 
Passavant, ii. 148; Landon, Musée, v. PI. 
33; Musée francais, i.; Filhol, in. Pl. 193 ; 
Perkins, 174. 

By Sir Joshua Reynolds, Marquis of Lans- 
downe, Bowood. Mrs. Sheridan as St. Ce- 
cilia. Sir Joshua called this the best pict- 
ure he ever painted. Exhibited at Royal 
Academy in 1884.—Waagen, Treasures, 1ii. 
160. 

By Rubens, Berlin Gallery ; canvas, H. 5 ft. 
7inx4 ft. 3in. Helena Forman, the paint- 
er’s second wife, as St. Cecilia, singing and 
playing on the harpsichord; attended by 
four angels, one of whom is seated upon the 
back of a sphinx. Collection of Prince 
Carignan ; sold by Duc de Tallard (1756) 
for 20,050 florins. Engraved by Witdouc ; 
and, with only two angels, by Panneels ; 
Lommelin.—Smith, 11. 106. 

By Ary Scheffer. Portrait of Mme, Viar- 


261 


CEDERSTROM 


dot Garcia; standing before an organ, with 
one hand resting on the keyboard. 
CEDERSTROM, GUSTAV OLAF, Baron, 
born in Stockholm, April 12, 1845. Genre 
painter ; pupil in Stockholm of Malmstroém, 
and Winge, then (1876) in Disseldorf of 
Fagerlin; went in 1869 to Paris, where 


v7 14 


Kt, Zz SY) ’ Ya i i, 
RS = TT Ne “Ey Se 
r he 


ag 


bp. 


St. Cecilia, Raphael, Bologna Gallery. 


he studied under Bonnat and Meissonier. 
Spent a few years in Florence and Rome, 
but settled in Paris. Since 1878, member 
of Stockholm Academy. Works: Early to 
Bed and Early to Rise (1871); Mignon 
(1873) ; Sickbed (1874); Epilogue, Stock- 
holm Museum ; Dark Hours (1875) ; Trans- 
portation of Charles XI. (1878); The 


eae 


Poachers; Recruiting under Charles XII > 


(1879). — Miller, 98; N. illustr. Zeitg. 
(1879), ii. 742. | 
CEDERSTROM, THURE, Baron, born 
on the estate of Aryd, Smaland, Sweden, 
dune 25, 1843. Genre painter; cousin of 
preceding; pupil of Diisseldorf Academy 
under Albert Baur, and of 
Weimar Art-School ; tray- 
elled extensively in Europe. 


Works: Dealer in Old 
Clothes; Spirit of the 
Times (1879). — Miiller, 99. 

CELS, CORNELIS, 
born at Lierre, Brabant, 
June 10, 1778, died in 
Brussels in 1859. History 
and portrait painter ; pu- 


and having 
years in various cities in 
Italy, settled in Antwerp, 
and in 1815 at The Hague; 


Works: 
Cross (1807), Dominican 
Church, Antwerp; Visita- 
tion (1808), Augustine 
Church, ib.; Martyrdom 
of St. Barbara, Bruges 
Cathedral Christ on 
‘Mount, Eglise des Riches-Claires, Brus- 
sels. — Biog. nat. de Belgique, ii. 403 ; 


v. 38. 

CENCI, BEATRICE, portrait, Guercino, 
| Bridgewater House, London ; canvas. Un- 
usually bright and warm in tone for this 
master. Differs from Guido’s picture, es: 


262 


Medal, London, 1879. 


pil in Brussels of A. Lens, - 
Me] and in Paris of Suvée;. 

~ | went to Rome in 1801, 
| spent seven. 


/ went to Tournay in 1820. 
as director of the Acad- 
emy, and settled at Brus-: 
sels in 1827; visited Eng- - 
land in 1836. Member of ' 
Academy S. Luca, Rome, — 
1807. Gold medal, Ghent. 
Descent from 


Immerzeel, i. 183; Journal des B. Arts, 


toy 


~~. “ae vs 


CENNINI 


pecially in the expression of sorrow.— Waa- 
gen, Treasures, 1. 36. 

Attributed to Guido Reni, Palazzo Bar- 
berini, Rome. Three-quarters face of touch- 
ing beauty. Head enveloped in drapery, 
calm but sad expression, lips tremulous 
with suppressed emotion. If, as is probable, 
painted by Guido, it cannot be the portrait 
of Beatrice Cenci, as she was executed in 


Beatrice Cenci, attributed to Guido, Palazzo Barberini, Rome. 


September, 1599, and Guido did not paint 
at Rome until 1608. Furthermore, the 
picture is not mentioned in the Barberini 
Catalogues of 1604 or 1623, so that it was 
not in the Gallery until after the latter date. 
Engraved by Perfetti—A. Bertolotti, Fran- 
- cesco Cenci e la sua famiglia; Edinburgh 
_ Review, Jan., 1879; Academy, March 18, 
1878; Giornale di erudizione artistica (Peru- 
gia, 1876), v. 276. 

CENNINI, CENNINO DI DREA, born 
at Colle di Val d’Elsa. Florentine school; 
end of 14th and beginning of 15th century ; 
disciple for twelve years of Agnolo Gaddi. 
As he was in Padua in 1398, it is not im- 
probable that he left Florence after Agnolo’s 


death (1396). His Virgin and Saints, a 
fresco in the Hospital of S. Giovanni Bat- 
tista, Florence, has disappeared, but the 
frescos of scenes in the life of Christ, in the 
church of the Compagnia della Croce di 
Giorno, Volterra, dated 1410 and signed 
Cienni da Firenze, are generally assigned to 
Cennini. He is best known, however, as 
the author of Trattato della pittura, the 
oldest modern work on the technical pro- 
cesses of painting. —C. & C., Italy, 1. 
477; Vasari, ed. Mil., i. 648; Eastlake, Ma- 
terials, etc., 71; Baldinucci, i. 308 ; Milane- 
si, Il libro dell’ arte o trattato della pittura 
(Florence, 1859); Quellenschriften, 1. 1; 
Preface to Mrs. Merrifield’s translation of 
Cennini’s Treatise (London, 1844); Liibke, 
Gesch. ital. Mal., i. 150. 

CENTAUR FAMILY, ancient picture. 
See Zeuwxis. 

CENTAURS AND LAPITHS, BATTLE 
BETWEEN, ancient picture. See Micon. 

CEPHALUS. See Bloemen, Norbert van. 

CEPHALUS AND PROCRIS, Claude 
Lorrain, National Gallery, London ; canvas, 
H. 3 ft. 4 in. x 4 ft. 5 in.; signed, dated 
Rome, 1645. Cephalus receiving from Pro- 
cris the presents of Diana—the hound Le- 
laps and the fatal dart with which she was 
subsequently killed. Liber Veritatis, No. 
91. Engraved by Browne, by Pye, and in 
Jones’s National Gallery. Waagen doubts 
the genuineness of this picture.—Cat. Nat. 
Gal.; Waagen, Treasures, i. 341; Pattison, 
Claude Lorrain, 227. 

By Guercino, Dresden Gallery; canvas, 
H. 6 ft. 7 in. x8 ft. 3 in. Cephalus weeping 
over the dead body of Procris, whom he has 
accidentally slain with an arrow; above, a 
Cupid weeping ; at right, two dogs. Painted 
in 1644 for Anne of Austria,Queen of France, 
who presented it to Cardinal Mazarin ; passed 
on his death to the Prince de Carignan, 
from whose collection bought in 1744 for 
4,000 livres. Engraved by L. 8. Lempereur; 
Keyl.—Gal. Roy. de Dresde, ii. Pl. 22. 

Subject treated also by Polidoro da Cara- 
vageio, Vienna Museum. 


263 


CEPHISODORUS 


CEPHISODORUS, painter, about 420 
B.C. Mentioned by Pliny (xxxv. 36 [60]) as 
an able artist.—Brunn, ii. 57. 

CEREZO (Zerezo), MATEO, born at 

y Burgos in 1635, died 
in Madrid in 1675. 
Spanish school ; son 
and pupil of Mateo 
Cerezo, a mediocre 
painter ; afterward 
scholar of Carrefio 
in Madrid, where he 
painted with consid- 
erable success during 
his short life. Painted chiefly religious 
compositions, choosing tender and agree- 
able subjects, such as Madonnas and Mag- 
dalens, rather than the ordinary sombre 
ones of the Spanish school. His best pict- 
ure, the Supper at Emmaus, is mentioned 
by Palomino as equal to works of Titian and 
Veronese. Works: The Assumption, and 
the Marriage of St. Catherine, Madrid Mu- 


M™ Corezo £ 


seum.—Cean Bermudez ; Stirling, iii. 1032; 
Ch. Blanc, Ecole espagnole ; Madrazo, 386. 

CERMAK. See Czermak. 

CERQUOZZI, MICHELANGELO, born 
in Rome, Feb. 2, 1602, died there, April 6, 
1660. Roman school ; son of a jeweller, and 
for three years pupil of a Flemish painter 
in Rome; then of Pietro Paolo Bonzi, called 
fl Gobbo de Frutti, from whom he learned 
to paint fruit and flowers; but he soon ap- 
plied himself to painting battle-scenes with 
so much skill that he was called Michelan- 
gelo delle Battaglie. Afterward he was sur- 
named ‘delle Bambocciate,” because he imi- 
tated the Dutch painter Pieter van Laar, 
who was called in Rome Il Bamboccio. Cer- 
quozzi painted with extreme facility, and 
generally without preliminary drawings. 
Among his best works are the Four Sea- 
sons, painted for the Palazzo Salviati, Rome ; 


Italian Masquerade, Louvre; Battle Field, 
Dresden Gallery.—Ch. Blanc, Ecole ombri- 
enne; Burkhardt, 768, 804; Seguier, 41; 
Lanzi, i. 486. 

CERVA,GIOVANNI BATTISTA DELLA, 
Lombard school; flourished about 1550 ; 
pupil of Gaudenzio Ferrari, and master of 
Gio. Paolo Lomazzo. Lanzi speaks of his 
Incredulity of St. Thomas, in S. Lorenzo, 


Milan, as entitling him to high rank in his . 


school.—Lanzi, ii. 499; Ch. Blane, Ecole 
milanaise ; Lomazzo, Trattato, vi. cap. 37. 
CERVARO, GIRLS OF (Les Cervarolles), 
Ernest Hébert, Luxembourg Museum; canvas, 
H. 9 ft. 5 in. x 5 ft. 9in. Group of Women of 
the RomanCampagna, life-size.—Salon, 1859. 
Colour study, H. P. Kidder, Boston, Mass. 
CESARE DA SESTO, born at Sesto about 
1485, died in Milan after 1523. Lombard 
school; one of the best scholars of Leonar- 
do da Vinci; afterwards became intimate in 
Rome with Raphael, a double influence un- 
der which he painted the mannered Adora- 
tion of the Magi, Naples Museum ; and a 
large circular picture in the Vatican Gallery, 
Rome (1523). These pictures are inferior 
to his best and earlier works, the Baptism 
of Christ, Scotti Gallery, Milan; and the 
Madonna with St. John, Melzi Collection, 
Milan. In this gallery there is also his large 
altarpiece of a later period, the Assumption 
of the Madonna, and in the Brera a charm- 
ing Madonna sitting under a laurel tree.— 
Baldinucci, ii. 291; Lanzi, ii. 485 ; Burck- 
hardt, 708 ; Rio, iii. 209; Ch. Blanc, Ecole 
milanaise ; Liibke, Gesch. ital. Mal., ii. 447. 
Re CESARI, GIU- 
SEPPE, Cavaliere 
d’Arpino, born at 
Arpino in 1568 (or 
1560?), died in 
Rome, July 3, 1640. 
Neapolitan school; 
called sometimes 
Giuseppino (Fr. 
| Josépin, Little Jo- 
seph), and also Il Marino de’ Pittori, be- 
cause he was a corruptor in painting as 


264 


aes 


CESBRON 


Marino was in poetry. Pupil of his father, 
an obscure painter ; went, when about thir- 
teen years old, to Rome, where he was 
employed by several painters engaged in 
decorating the Vatican. His ability in sketch- 
ing attracted the attention of Pope Gregory 
XUIL, who took him under his protection. 
Clement VIII. continued his patronage, made 
him superintendent of the decorations in S. 
Giovanni in Laterano, and knighted him. 
He enjoyed a great reputation in his time, 
and was enriched and honoured by the ten 
popes under whom he lived; but posterity 
has failed to accord him the rank in art 
which he enjoyed when living. The taste 
of the time was for glitter and ostentation, 
and Cesari, who had great facility of execu- 
tion, satisfied the popular expectation with- 
out troubling himself with much study. He 
had a well-attended school at Rome, and 
was at enmity with Caravaggio and Annibale 
Carracci. Among his pupils was his brother 
Bernardino, who assisted him in many of 
his works. Works: Expulsion from Eden, 


Diana and Actzon, Louvre; Roman Battle, 
Dresden Gallery; Betrayal of Christ, Nymphs 
and Tritons, Cassel Gallery; Perseus and 
Andromeda, Vienna Museum; Rape of Sa- 
bines, Horatii and Curiatii, Capitol Palace, 
Rome ; Diana, Capitol Museum, ib.; Annun- 
ciation, Lateran Museum, 
ib.; St. Clara, Hermitage, St. 
Petersburg. The ceiling fres- © PIN 
cos in the choir of 8. Silvestro “° e 
Monte Cavallo, Rome, are among his better 
works.—Ch. Blanc, Ecole napolitaine ; Lan- 
zi, i. 422; Burckhardt, 652, 757. 
CESBRON, ACHILLE, born at Oran, Al- 
geria; contemporary. Flower and _ fruit 
painter; pupil of Bonnat and Cormon. 
Medal, 3d class, 1884. Works: Fruits and 
Flowers, Vegetables (1879); In the Shade, 
In the Sun (1880); Roses, Poppies (1881); 
Gardener’s Daughter, Street Altar (1882); 
In the Packing Room, Blackberry Road 


(1883); Metempsychosis, Peonies (1884); 
Iie puits aux roses, Kitchen Garden 
(1885). 


CESI, BARTOLOMMEO, born in Bo- 
logna in 1556, died there, July 11, 1629. 
Bolognese school; pupil of Gio. Francesco 
Brizzi, but afterward studied the works of 
Pellegrino Tibaldi. He became a good 
painter, with a manner of his own, marked 
by suavity and elegance, which served Guido 
as a model. He succeeded best in fresco, 
his most noted works being a series of ten 
pictures illustrating the life of Aineas, in 
the Palazzo Favi, Bologna. His paintings 
in oil were only inferior to those of Tibaldi 
and of Annibale Carracci. Among the best 
are the Adoration of the Magi, in 8. Do- 
menico, Crucifixion of SS. Paul and Andrew, 
in §S. Martino Maggiore, Crucifixion in 
S. Giovanni in Mento, Bologna.—Malvasia, 
i. 239 ; Lanzi, iii. 49; Ch. Blanc, Ecole bo- 
lonaise ; Gualandi, Guida, 28, 50, 70. 

CESPEDES, PABLO DE, eee at Cor- 
dova in 1538, died EMM 
there, July 26, 
1608. Seen 
school ; of a noble 
family, educated 
at University of 
Alcala, studied art 
in Rome and be- 
came distin- 
guished there, . 
where he was called Paolo de Cordova, not 
only as a painter, sculptor, and architect, 
but also as a poet and scholar. The Pope 
conferred on him a canonry in the Cathe- 
dral of Cordova, and in 1577 he returned to 
Spain to attend to the duties of his office, 
finding time, however, for the pursuit of art 

and literature. 


— His most famous 
pe) work, the Last 

tie CTD Supper, is in the 
Cathedral of Cor- 


dova, but much 


faded and injured.—Viardot, Peintres de 


VEspagne, 119 ; Stirling, i. 8321; Ch. Blane, 
Ecole espagnole. 

CEULEN (Keulen) CORNELIS JANSON 
VAN, born in Amsterdam (?), about 1590, 


265 


CHABAL 


died between 1662 and 1664. Dutch school ; 
probably of German origin, judging from 
his name, Ceulen (i.e., Cologne). First style 
thoroughly Dutch, afterwards mingled with 
Flemish influence, through Van Dyck, with 
whom he painted for eight years at court of 
Charles I. Went to England in 1618, reign 
of James I. and remained until 1648, when 
he settled at Utrecht. Works: Magistrates 
(1647), Hague Museum ; two portraits (1651), 
Dresden Museum; three (1640, 1655), 
Brunswick Museum ; four portraits, Rotter- 
dam Museum; one (1660), Lille Museum ; 
Charles IL, Chatsworth ; Prince © Henry, 
Kedleston Hall; Duke of Buckingham, 
Duke of Portland, De Witt and Wife, Luton 
Hall; Milton, Passmore Edwards, M.P., 
London.—Burger, Musées, ii. 225 ; Kramm, 
i. 798 - Riegel, Beitriige, ii, 229. 

CHABAL-DUSSURGEY, PIERRE 
ADRIEN, born at Charlie (Loire), in 1815. 
Flower painter, chiefly in water-colour. 
Painted fourteen panels of flowers and fruit 
for the lobby of the Théatre Francais; 
and decorated a room for the Empress Eu- 
génie. Medals: 3d class, 1845; 2d class, 
1847; L. of Honour, 1857; professor at 
the Gobelins in 1850, Works: Flowers 
(1842 to 1845); Crown of Flowers around 
the portrait of the Duke of Orleans, Bou- 
quet of Camellias (1846); Springtime (1849); 
Studies of Flowers (1843 to 1852); Virgin 
surrounded by Flowers, Corner of a Vine- 
yard in Autumn (1855); Crown of Flowers, 
Vase of Flowers (1861); Concordia (1878); 
A Rose from my Garden (1879). 

CHABRY, MARTIN LEONCE, born 
at Bordeaux, died before April 1, 1883. 
Landscape painter, Medal, 3d class, 1879, 
Works: Pic de Clarabide, Heights of La Val- 
hiére (1878); In the Landes of Gascogne, 
Coast of Saintonge (1879); Isolated Rock at 
Valliére, In the Month of August (1880); In 
the old Forest of Buch (1881); Ruins of 
Thebes (1882); The Nile at Erment, Plains 
of Thebes (1883). 

_ CHACATON, JEAN NICOLAS HENRI 
DE, born at Chézy (Allier), July 138, 1813. 


French school ; landscape painter, pupil of 
Ingres, Hersent, and Marilhat. Has never 
been a popular painter, and has not exhib- 
ited in the Salon since 1857. Has travelled 
in Italy, the East, and Spain, taking hig 
subjects from those countries, Medals: 3d 
class, 1838 ; 2d class, 1844 and 1848. Works: 
Prisoner of Chillon (1835); Porta Nuova in 
Palermo; St. Rosalie’s Day, Gorges of 
Amalfi (1838); Turkish Bazaar in Cairo, 
Arab Camp at Suez, Irregular Cavalry of 
Ibrahim Pasha, Valley of J. ehoshaphat (1841); 
Factory in the Island of Procida (1842); 
Hourbarych Street in Cairo, Arabian Foun- 
tain, Souvenir of the Villa Borghese (1844); 
Departure of a Caravan, Plane-Trees of Hip- 
pocrates, Syrian Town (1846); Turkish 
Family Travelling, Caravan Halting, Arab 
Camp in the Desert, Courtyard in Granada 
(1848); Mosque in Jerusalem (1849); Muez- 
zin’s House in Gaza, Shepherds of the 
Roman Campagna returning from the Fields 
(1852); Arabs at a Cistern (1855) ; Carthu- - 
sian Convent in Syracuse, Souvenir of the 
Tiber, Bull-Fight in Valencia (1857).—Ta- 
rousse. 

CHALDEAN SAGES, Giorgione, Vienna 
Museum ; canvas, H. 3 ft. 10 in. x 4 ft. 54 in, 
Three astronomers, in Eastern costume, in 
the shadow of a glade.’ Two of them, an 
old man and one of middle age, stand en- 
gaged in conversation in foreground ; the 
third, seated, examines the heavens and 
places a compass on an angle, as if to meas- 
ure it. Said to have been finished after 
Giorgione’s death (1511) by Sebastian del 
Piombo, but there are no signs of it. In 
collection of Taddeo Contarini in 1535.—C. 
& C., N. Italy, ii, 135, - 

CHALON, ALFRED EDWARD, born in 
Geneva, Switzerland, Feb. 15, 1781, died in 
London, Oct. 3, 1860. Reverses of French 
Revolution drove family to England in 1789 ; 
Alfred entered, in 1797, schools of Royal 
Academy, became an A.R.A. in 1812, and 
R.A. in 1816. Was for many years the 
fashionable portrait painter in water-colours, 
was the first to paint Queen Victoria, and 


266 


CHALON 


was appointed portrait painter in water-col-| 


ours to her Majesty. He also painted fine 
subject-pieces in oil, and had such imitative 
ability that some of his works have been 
attributed to Watteau and Rubens. Works: 
Hunt the Slipper (1831); Morning Walk, 
Samson and Delilah (1837) ; Serena (1847); 
John Knox reproving Ladies of Queen 
Mary’s Court (1844); Seasons (1851) ; So- 
phia Western (1857).—Redgrave ; Art Jour- 
nal (1862), 9; Ch. Blane, 
Ecole anglaise ; Sandby, i. 
Opt” 

CHALON, JOHN 
.JAMES, born in Geneva, 
March 27, 1778, died in 
London, Noy. 14, 1854. EI- 
der brother of Alfred Ed- 
ward; student at Royal 
Academy in 1796; became 
A.R.A. in 1827, and R.A. in 
1841. First exhibited works 
in oil, chiefly landscapes 
and genre subjects, but af- 
terward took also a distin- 
guished position as a water- 
colour painter. Works: | 
Napoleon on Board the Bel- | 
lerophon, Greenwich Hos- 
pital; View of Hastings, S. 


Chesne (1628), whose daughter he married. - 
Painted many pictures for churches and 
palaces. He was received in 1648 into first 
Academy of Painting as professor, and after- 
wards made director. Works: Christ in 
House of Simon, Last Supper, two scenes 
from legend of SS. Gervasius and Protasius, 
portraits of Louis XIII, of Robert Arnaud 
d’Andilly, of Cardinal Richelieu, of the archi- 
tects Mansard and Perrault, of himself, and 


Chaldean Sages, Giorgione, Vienna Museum. 


Kensington Museum. — Redgrave; Ch. | others, Louvre; Finding of Relics of St. Ger- 


Blane, Ecole anglaise ; Sandby, ii. 167. 
CHAMPAIGNE, (Champagne), PHI- 
a LIPPE DE, born 
in Brussels, May 
26, 1602, died in 
Paris, Aug. 12,1674. 
Flemish school; his- 
| i’ GEGN\ tory and portrait 
i/ L WSG ined painter, pupil of 
( o— A Bouillon, Michel 
Bordeaux, two ob- 
Yy . secure artists, and of 
7 Z,, beet Fouquiéres. Went 
to Paris in 1621, and worked under Du 
Chesne on the decorations for the Luxem- 
bourg. Returned to Brussels in 1627, but 
was recalled to Paris after death of Du 


vasius, Lyons Museum; ten scenes from le- 
gend of St. Benedict, and others, Brussels 
Museum ; portrait, Hague Museum; do., 
Rotterdam Museum; Adam and Eve lament- 
ing Abel, Vienna Museum; Moses with Ta- 
bles of the Law, Hermitage, St. Petersburg ; 
three portraits of Richelieu on one canvas, 


PHIECHAMPAIGNE.P. 
pie | 

Soild Champ cugne 
facebal A° 656 


National Gallery, London. His nephew, 
Jean Baptiste Champaigne (1645-1693), who 


267 


CHAMPIGNY 


followed his manner, was also a professor in 
the Paris Academy.—Biog. nat. de Belgique, 
iii. 418; Ch. Blanc, Ecole francaise ; Im- 
merzeel, i. 134; Kramm, i. 228; Michiels, 


ix. 279, 330. wd 


CHAMPIGNY, Edouard Detaille, Henr 
Hilton, New York. Scene, the kitchen 
garden of a suburban mansion near Paris. 
Gen. Faron, having retaken Champigny, a 
village above the Marne, fortified the hamlet 
and defended, foot by foot, the houses and 
enclosed gardens, Dec. 2, 1870, against the 
return attack of the Saxony and Wiirtem- 
burg Divisions. Photogravure in Art Treas- 
ures of America, ii. 51. 

CHAMPIN, JEAN JACQUES, born at 
Sceaux (Seine), Sept. 8, 1796, died in Paris, 
March 10, 1860. Landscape painter, pupil 
of Storelli and Régnier ; an excellent water- 
colour painter, and a skilful engraver. Med- 
als : 2d class, 1824 ; Ist class, 1831. Works: 
Coast of Provence from above Nice (1831); 
Souvenirs of the Lignon (1869).—Larousse. 

CHAMPNEY, JAMES WELLS, born in 
Boston, Mass., July 16, 1843. Genre painter; 
pupil of Edouard Frére at Kcouen, France, 
and of the Antwerp Academy in 1867-68. 
Sketched at different times in England and 
on the Continent, Africa, Nova Scotia, South 
America, and in the Southern United States. 
Lecturer on anatomy in the schools of the 
National Academy, New York. Elected an 
A.N.A. in 1882. Studios in New York and 
Deerfield. Works: Which is Umpire? (1871); 
Sere Leaf (1874); Not so Ugly as he Looks 
(1875); Your Good Health, Speak, Sir (1876); 
Where the Two Paths Meet (1880) ; Indian 
Summer (1881); Bonny Kilmeny, Boarding- 
school Green-Room (1882); Pamela, Hide 
and Seek, Autumn Reverie, Eunice (1884); 
He loves Me (1885); Water-colours : On the 
Heights, Measuring the Great Elm (1884). 

CHAPEAU DE PAILLE (i. e. Poil—The 
Beaver Hat), Rubens, National Gallery, Lon- 
don ; wood, H. 2 ft. 6 in.x1 ft. 9 in. Por- 
trait of a young lady (Mdlle. Lunden ?), 
half-length, life-size, dressed in a black vel- 
vet bodice with crimson sleeves, and wearing 


a black Spanish beaver hat with black and 
white feathers, holding her hands crossed 
before her. The hat casts a shadow over the 
upper part of the face, giving the painter 
an opportunity of showing his skill in treat- 
ing transparent shadow. From this it was 
formerly called in Belgium Het Spaansch 
Hoedje (The Spanish Hat). It was in Ru- 


Chapeau de Paille, Rubens, Nationa! Gallery, London. 


bens’s possession until his death (1640); at 
death of his widow passed to family of Lun- 
den, from whom bought (1817) by Baron 
Stiers d’Aertselaer for 50,000 florins; sold 
at his death (1822) for 32,700 florins, and 
taken to England, where it was purchased 
for £3,500 by Sir Robert Peel, from whose 
Collection it passed in 1871 to National Gal- 
lery. Engraved by Tayler; Reynolds. — 
Smith, ii. 32, 228; Kett, 110; Waagen, Treas- 
ures, 1. 398. 

CHAPLIN, CHARLES JOSHUA, born 
at Les Andelys (Eure), June 6, 1825. Fig- 
ure and portrait painter ; pupil of the Ecole | 
des Beaux Arts, and employed in 1860 in 
decorating the Tuileries, afterwards the 
rooms of the Empress in the Elysée, the 
Hotel Musard, and other public and private 


268 


CHAPMAN 


buildings. He is successful as a teacher,and 
has many pupils. Medals: 3d class, 1851; 
2d class, 1852 and 1865; L. of Honour, 
1865 ; Officer, 1877. Studio in Paris. Works: 
St. Sebastian (1847); Street in Village of 
Lower Auvergne, Woman of Auvergne (1848); 


Evening on the Moors, Bordeaux Museum ;| Similar domestic 


, Moaiitainoers of Puy de Dome (1849); Mule- 
teer of Lozére (1851); Morning (1855) ; 
First Roses (1857); Aurora, Astronomy, 
Poetry, Diana (1859); Soap-Bubbles, Luxem- 
bourg Museum; Turtles (1864) ; A Dream 
(panel in Prince Demidoff’s Palace); Parro- 
quets, Poetry (1867) ; 
Child, Girl holding a Tray (1870) ; Haydee 
(1873), Miss C. L. Wolfe, New York ; May 
Rose, Broken Lyre (1875); Happy Hours 
(1876) ; Sweetheart’s Portrait, Love’s Mes- 
senger, portrait of Duc d’Audiffret-Pasquier 
(1877); Devotion, W. T. Walters, Baltimore; 


(h Chaplin /884 


Prayer, Samuel Hawk Collection, New York; 
Souvenirs (1882).—Larousse, iii. 967; Vape- 
reau (1880), 399. 

CHAPMAN, JOHN GADSBY, born at 
Alexandria, Va., in 1808. Subject and land- 
scape painter ; studied in Italy. Is a suc- 
cessful etcher and wood-engraver, and has 
illustrated many books. Elected N.A. in 
1836. Studio in Rome since 1848. Works: 
Etruscan Girl ; 
Pocahantas (Capitol at Washington) ; Sun- 
set on the Campagna; Vintage Scene ; 
Stone Pines in the Barberini Valley ; Valley 
of Mexico. | 

CHARDIN, JEAN BAPTISTE SIMEON, 
born in Paris, Nov. 2, 1699, died there, 
Dec. 6, 1779. French school; Genre, in- 
teriors, and still-life painter ; pupil of Cazes, 
and of Noél Nicolas Coypel, who employed 
him to paint accessories and led him to 
adopt the style in which he was destined to 
excel. First attracted attention by a bar- 
ber’s sign, then in 1728 by La Raie (Louvre); 


First Ties (1869) ;| portraits (1773) is known. 


admitted to Academy in 1728 ; treasurer in 
1755. Long painted still-life, in which he has 
never been excelled. 


caone 


In 1737 began to Ezz a 
paint pictures with ey 
figures of children. 


scenes exhibited in 
1739-40 and 41 es- 
tablished his repu- 
tation as the painter 
of middle-class life. 
But one of his oil 


In the latter 
part of his life Chardin painted in pastel, of 
which the portraits of himself and his wife 
in the Louvre are examples. Works: 
Kitchen Interior (1728), La Raie, Fruits 
and Animals (1728), Kitchen Utensils, 1731, 
do. (1731), The Industrious Mother (1740), 
The Blessing (1740), Dead Rabbit (1757), 
The Monkey Antiquarian, Art Attributes 
(1765), Louvre ; The Blessing, The Washer- 
woman, Boy’s Portrait, Hermitage, St. 
Petersburg ; two Pictures of still-life, Mu- 


7U8. Sie 


seum of Fine Arts, Boston.—Ch. Blane, 
Ecole francaise; Dohme, 3; Goncourt, i. 
75; Wedmore, Masters of Genre Painting, 


Last Arrow; Baptism of|196; Wurzbach, Maler des XVIII. Jahr- 


hund., 33; Villot, Cat. Louvre; Portfolio 
(1872), 50. 

CHARGE OF ARTILLERY OF IMPE- 
RIAL GUARD, Adolphe Schreyer, formerly 
in Luxembourg Museum ; canvas, H. 6 ft. 
9in. x14 ft. 3in. Battle of Traktir in the 
Crimea, Aug. 16, 1855. Artillery going to 
the Front.—Salon, 1865. 

CHAREPHANKHES, Pee 
phanes. 

CHARIOT A FOIN (Hay Cart), Philips 
Wouverman, Hague Museum; wood, H. 1 ft. 
3in. x1ft.6in. A landscape with water and 


See Nico- 


269 


CHARIOT 


boats which men are loading with hay ; on 
the bank, a loaded hay-cart drawn by two 
horses, another by one horse, a man on 
horseback with a peasant woman behind, 
and other figures. Engraved by Dupreel, 
Bovinet. 'Taken to Paris, but restored in 
1815.—Musée francais; Filhol, i. Pl. 99; 
Smith, i. 323. 

CHARIOT RACH, J. L. Géréme. 
Circus Maximus. 

CHARIOT RACE, Alexander Wagner, 
George Kirchner & Co., New York ; canvas, 
H.5 ft. 6 in. x 12 ft. 6 in. Race of four- 
horse chariots, driven by Christian slaves, 
in the Circus Maximus, Rome, in time of 
Domitian, a.p. 81, the prize being life and 
freedom. Scene—the end of the race ; the 
winner, the driver of the grays, 1s about to 
pass the line when he hears the bays com- 
ing up behind at his left, and is for a mo- 
ment startled lest the victory be snatched 
from his grasp. Painted in 1876, by order 


See 


Engraved by I. S. Klauber; A. Dalcd.— 
Wicar, i. Part 9; Gal. du Pal. Pitti, ii. PI. 
82. 

By Wilhelm von Kaulbach, Henry Pro- 
basco, Cincinnati. Originally called Mut- 
terliebe (mother-love). Female figure, seat- 


ed, with several children. Replica, in 
small, Henry ©. Gibson, Philadelphia ; 
crayon study, J. P. Morgan, New York ; do., 


E. D. Morgan Collection, New York. Pho- 
togravure in Art Treasures of America, i. 68; 
Li 

By Rubens, Potsdam Gallery (?) ; copper, 
H. 2 ft. 3 in.x1ft.8 in. A beautiful woman 
bending down to caress three infants. HEn- 
eraved by Galle ; Surugue.—Smith, 11. 110. 

By Andrea del Sarto, Louvre ; wood, trans- 


of Messrs. Kirchner & Co., for Philadelphia | tity 
Exposition, where it was awarded a medal. | Fan 


Original sketch (1873), medal at Vienna, 
now owned in London. 

CHARITY, William Adolphe Bouguereau, 
J. W. Drexel, New York; canvas, H. 9 ft. x 
5 ft. 
marble bench, with architectural back- 
ground, with left foot resting upon an over- 
turned jar, from which coins are escaping ; 
she holds three infants in her arms, and 
two others nestle at her feet. Salon, 1874 ; 
Replica, landscape background, Samuel 
Hawk Collection, New York ; Study, Henry 
Hilton, New York. Photogravure in Art 
Treas. of Amer. ii. 80; ii. 17. 

By Domenichino, Dresden Gallery ; canvas, 
H. 4 ft.x6 ft.5 in. Female figure, with 
children. Purchased in 1845 for 600 thal- 
ers from heirs of Inspector Matthei. 

By Guido Reni, Palazzo Pitti, Florence ; 
canvas, oval, H.3 ft. 5 in.x4ft.8 in, A 
woman, half-length, and three children, one 
of which she supports with her right arm 
while nursing a second; the third takes 
hold of her robe. In Guido’s first manner. 


| 


Female figure, draped, seated on a| ha 
\\ 


Giff aD ato ALAA os 
LL 


Re 
y ye 


fp wh 

N 2 i <2. 

; ~ Se & S 

- : Q 

ty AF N : ay ee — 
Wow) U) Z =. WS 
Nee” )) “AV > ee Ques 
lr po Nae eer gk te 
4 ye had ie 
tL oN ASIII A RG SY , 2 So SEES 

Ny| S Ms WN a By Se hl ae ate ae 
a as esa YUAN ata SY ey lie 1 wit Mert SSH) 
aelice Nah SCI Aa 
isan LoP 5: ae a ‘as = 4 bE) =) Swi AEA 


Charity, Andrea del Sarto, Louvre. 


ferred to canvas, H. 5 ft. 11 in. x 4 ft. 6 in.; 
signed, dated 1518. A woman with three 
children, one at her feet asleep and two in her 
lap, to one of which she is giving the breast. 
Painted in France for Francis I. Copy in 
Nantes Museum. Engraved by P. Audouin ; 
Massard ; Salmon.—Vasari, ed. Mil., v. 30; 


270 


CHARLATAN 


C. & C., Italy, iii. 563 ; Villot, Louvre ; Ch. 
Blanc, Ecole Borentiué : Filhol, viii. Pl. ‘50S ; 
Klass. der Malerei, i. Pl. 30 ; Landon, Musée, 
x. Pl. 42; Dohme, 2iii. 2; Miindler, Essai, 
25 ; Musée royal, i. 

By Anton Van Dyck, Earl of Lonsdale, 
Lowther Castle; canvas, H. 4 ft. 9 in. x3 ft. 
9 in. A beautiful woman, in a white robe 
and blue scarf, with a scarlet mantle over 
her knees, sitting with a naked infant in her 
lap; a second child standing at her right, 
and a third behind her. Copies: Dulwich 
Gallery; Hope Collection ; P. Methuen. En- 
graved by C. Caukercken ; W. Ryland. 
Lithographed by Lafosse.—Smith, iii. 118; 
Guiffrey ; Waagen, Treasures, iii. 261. 

CHARLATAN, Gerard Dou, Munich Gal- 
lery; wood, H. 3 ft. 6 in. x 2 ft. 7in.; signed, 
dated 1652. A quack doctor, on a stage 
covered with a Turkish carpet and roofed 
with a large umbrella, holding forth on the 
virtues of his drugs to a numerous assem- 
blage of people. One of his most famous 
pictures. Formerly in Diisseldorf Gallery. 
Injured by injudicious cleaning and restor- 
ing. Engraved by Wille ; C. Hess.—Smith, 
i. 37; Ch. Blanc, Ecole hollandaise. 

CHARLAY-POMPON, CHARLES, born 
in Paris; contemporary. Landscape painter, 
pupil of Rapin. Medal, 3d class, 1885. 
Works: L’Uveaune near Marseilles (1883); 
November (1884) ; The Last Leaves, Road 
of La Souris (1885). 

CHARLEMAGNE, CORONATION OF, 
fiaphael, Stanza dell Incendio del Borgo, 
Vatican ; fresco. H.15 ft. 11 in. x 21 ft. 4 
in. Leo IL. (portrait of Leo X.), seated in 
foreground, about to place the crown on the 
head of the kneeling emperor (portrait of 
Francis I.), beside whom stands a page (Ip- 
polito de’ Medici); on each side, cardinals 
with their trainbearers ; in background, the 
warrior wearing a helmet encircled by a 
crown is supposed to be Pepin, who was 
anointed at same time as his father. Typical 
of the dogma that the temporal power is 
subject to the spiritual. Painted in 1517, 
probably by pupils from designs of Raphael. 


| Engraved by Fr. Aquila, Aloysio Fabri, and 


Landon.—Vasari, ed. Mil., iv. 361; Passavant, 
u. 157; Mintz, 427. 

CHARLEMAGNE AND WITTIKIND, 
Ary Scheffer, Versailles Museum; canvas. 
Wittikind, the heathen King of the Saxons, 
after his defeat in two great battles, surren- 
dered to Charlemagne at Attigny-sur-Seine | 
in A.D. 785 and was baptized. Charlemagne, 
mounted, at right, accompanied by soldiers 
and ecclesiastics, receives the submission of 
Wittikind, who, with his family and other 
followers, kneels before him. Subject treated 
also by Wilhelm Kaulbach, Aeinetttary ec: 
Munich. 

CHARLEMONT, EDUARD, born at 
Znaim, Moravia, in 1848. Genre and por- 
trait painter ; pupil of the Vienna Academy 
under Engerth, then of Makart, who enabled 
him to visit Italy ; remained some time in 
Venice, and travelled in Germany and 
France; has recently settled in Paris. 
Works: The Antiquaries (1872); Two Boys 
in Rubens’s Costume, Two Scenes from 
Snowdrop, Four Divisions of the Day, Four 
Seasons, Five Continents, Lansquenet (1878). 
—Miller, 101; N. illustr. Zeitg., (1878), ii. 
602 ; Zeitschr. f. b. K., xiii. 352. 

CHARLEMONT, HUGO, born at Znaim, 
Moravia, in 1850. Landscape painter ; 
brother of Kduard, pupil of the Vienna 
Academy under Lichtenfels, then under his 
brother and Makart; travelled in 1874 in 
Holland. Works: Interior of Makart’s Stu- 
dio, Still-life with Peacocks.—Miiller, 101; 
Zeitschr. f. b. K., x. 384; xin. 353. 

CHARLES I, portrait, Anton van Dyck, 
National Gallery, London ; canvas, H. 12 ft. 
6 in. x9 ft.6in. Charles I, of England, in 
armour, on a roan charger, attended by his 
equerry, Sir Thomas Morton, on foot, bearing 
helmet ; in background, a cavalry combat. 
Formerly in Collection of Charles I; pur- 
chased in Munich by John, Duke of Marl- 
borough, and long in Blenheim Palace. Sold 
to National Gallery in 1884 for £17,500. 
Copies: Duke of Portland, Earl of Claren- 
don; study at Buckingham Palace. En- 


271 


CHARLES 


graved by Lombart, whose plate was after- 
ward altered, the head of Cromwell being 
substituted for that of the king.—Waagen, 
Treasures, 11. 3; ii. 129; Smith, ii. 77; 
Guiffrey. 

By Anton van Dyck, Louvre, Paris; can- 
vas, H. 9 ft.x 6 ft. 11 in; signed. Full 
length, standing under a tree, head turned 


=e | bought for £200 by Van Leemput, a Dutch 


Pl. xvii.; Guiffrey, 180 ; Villot, Cat. Louvre; 
Head, 62. 

By Anton van Dyck, Windsor Castle ; can- 
vas, H. about 10 ft. 6 in. x8 ft. In armour, 
his head uncovered, mounted on a gray 
charger advancing from under a lofty arch- 
way; by his side, on foot, his equerry, M. 
St. Antoine, bearing his helmet. Collection 
of Charles I; at sale of his effects (1651) 


e—-2-|/artist, from whom recovered at Restoration. 
2||Copies: Hampton Court; Apsley House , 


s|| tonshire ; Lady Warren. 
2]|on (1741); C. Ferreri; Ch. Pye. 


Warwick Castle ; Lamport Hall, Northamp 
Engraved by Bar. 
Smith, iii. 
57; Waagen, Treasures, ii. 429; Guiffrey ; 


NS Law, Hist. Cat. Hampton Court, 28. 


CHARLES I, CHILDREN OF, Anton 


/ van Dyck, Turin Gallery ; canvas, H. 5 ft. 1 


( 


L) 
oN ees SSS NG 
A ey Als \ Nt ars 


sn” | 


ren 
ti 
> 
= Hh . 2 a ee i 
Z, | Be 3 waeGe 
e eae 
Vas; efi ay 
\ i 


IBIS 


Charles I., Anton van Dyck, Louvre, Paris. 


three quarters to left, dressed in white satin 
jacket, scarlet hose, buff boots, broad lace 
frill, and hat with feathers, and wearing 
sword and spurs, with cane in right hand 
and left hand on hip; appears to have just 
dismounted from a noble charger behind 
him, held by his equerry, the Marquis of 
Hamilton ; in background, a page carrying 
his cloak. Painted about 1635. Purchased 
at Marquis de Lassay sale (1770) for 24,000 
fr. for Mme. du Barri, who presented it to 
Louis XV. Valued at 100,000 fr. in 1816. 
Engraved by R. Strange; Bonnefoy ; Dupare ; 
Panquet ; D. J. Desvachez (1880). Etched 
by Boulard.—Smith, iii. 39; Ch. Blane, Ecole 
flamande ; Filhol, i. Pl. 5 ; Klas. der Malerei, 


ud tin, S06 ie tae 


Prince Charles, about five 
years old, standing at right, in a scarlet 


7, | frock embroidered with silver lace, his right 
|;{hand on head of a brown spaniel; on his 


left, Princess Mary, in a white satin dress ; 
and on her left, James, Duke of York, in a 


a Wek Wien | blue silk frock, with an apple in his hand ; 
A'S] | background, a green curtain and part of a 
~<~.44 | landscape. Engraved by G. Thevenin (1863); 
“i letched by Gaujean. 


Duplicate: Earl of 
Pembroke, Wilton.— Gal. di Torino, iv. Pl. 
160 ; Smith, iii. 53; Guiffrey, 60 ; Head, 55. 

By Anton van Dyck, Windsor Castle ; can- 
vas, H. 5 ft. 9 in. x 7 ft. 3 in.; signed, dated 
1637. Prince Charles, aged seven years, 
standing, with his left hand on the head of 
a large dog; on his right, the Princess 
Elizabeth and Mary; and on his left, the 
Princess Anne holding James, Duke of 
York, on a chair, at the foot of which lies a 
spaniel. Engraved by Baron; Strange ; 
R. Cooper (1762); H. Bourne ; H. Coussin. 
Etched by Gaujean. Copy in Berlin Mu- 
seum, lithographed by Fr. Jentzen.—Guif- 
frey, 172; Smith, iii. 60; Waagen, Treas- 
ures, 11. 428. 

By Anton van Dyck, Windsor Castle ; 
canvas, H. 4 ft. 4 in. x 5 ft.; dated 1638, 
Prince Charles, about nine years old, stand- 


272 


CHARLES 


ing at left, leans left arm on base of a col- 
umn and holds in right the hand of his 
brother James, Duke of York, the latter in 
petticoats ; at right, Princess Mary, with 
her hands crossed at waist; in fore- 
ground, left and right, two spaniels. En- 
graved by R. Strange; J. Burnet; Le 
Blonde; Purcell. Etched by N. Muxell. 
Copy in Dresden Gallery, lithographed by 
Hanfstaeng] (1840) ; another, Earl of Clar- 
endon. Sketch, with but one dog, Louvre. 


—Smith, iii 61; Klas. der Malerei, PI. | 


xvi. ; Gal. roy. de Dresde; 
Guiffrey ; Waagen, Treas- 
ures, li. 429, 457; Villot, 
Cat. Louvre. 
CHARLES I. AND 
FAMILY, Anton van Dyck, 
Windsor Castle; canvas, H. 
8 ft.x11 ft. The king, in 
royal robes, seated in an 
arm-chair, with his right 
hand on a table on which 
are the regalia of England; 
beside him, Prince Charles, 
standing, with both his 
hands on his knee; on his 
left, Queen Henrietta Ma- 
ria, seated, with infant 
James in her arms ; in dis- 
tance, the Tower of Lon- 
don. Engraved by Baron 
(1741); R. Strange; Mas- 
sard ; F. A. David; Dennel. Copies: Duke 
of Richmond ; Duke of Devonshire.—Smith, 
ii. 66 ; Guiffrey ; Waagen, Treasures, ii. 426. 
CHARLES I AND CROMWELL’S 
SOLDIERS, Paul Delaroche, Bridgewater 
House, London. Charles I. after his con- 
demnation insulted by the soldiers of the 
guard. The resignation of the fallen mon- 
arch contrasts strongly with the rudeness of 
his persecutors, and moves one old soldier 
to tears. Salon, 1836. Engraved by Marti- 
net.—Waagen, Treasures, ii. 54; Larousse, 
Hil. 1014. 

CHARLES V., portrait, Anton Van Dyck, 
Uffizi, Florence ; canvas, H. 6 ft. 1 in. x 4 ft. 


The Emperor in armour, with a red scarf 
over the left shoulder, mounted on a white 
charger ; his right hand holds a baton, the 
left curbs his spirited steed, whose career 
is arrested by the waves of the sea; the 
wreck of a vessel is tossed on the billows ; 
above, an eagle, with a wreath of laurel. 
Likeness borrowed from Titian’s picture. 
One of his best works, Engraved by Gut- 
tenberg (1790); C. Mogalli; Earlom ; Chios- 
sone.—Smith, iii. 47; Guiffrey. 

By Titian, Madrid Museum ; canvas, H. 


Children of Charles |., Anton van Dyck, Windsor Castle. 


6 ft. 4in. x3 ft. 8 in. Full length, in gala 
dress ; the right hand playing with a dagger, 
the left on a fawn-coloured Spanish hound. 
Painted in 1533. ‘Titian received for it 
1,000 scudi in gold, and was created by the 
Emperor a Count Palatine and Knight of 
the Golden Spur. Replica in 1536 for Duke 
of Mantua; another belonged to Charles I. 
of England, and was sold in 1650 to Sir 
Balthasar Gerbier for £150. ‘Titian’s first 
sketch of Charles, a bust in armour, was pre- 
served in Bologna until 1856, when it was 
sold to an Englishman. A full-length, paint- 
ed from this, was in the Royal Palace at 
Brussels, and another in that of Madrid, 


273 


CHARLES 


where it was burned in 1608. A full-length 
of the Emperor, with an Irish Dog, engraved 
in Madrazo’s Gallery of Madrid, and now at 
Hampton Court Palace, once hung in the so- 
called Bear Gallery at Whitehall.—Vasari, 
ed. Mil., vii. 449; C. & C., Titian, i. 366. 
By Titian, Munich Gallery ; canvas, H. 6 
ft. 4 in. x3 ft. 9 in.; signed. The Emperor, 
full length, in black and a fur pelisse, seated 


(= 


GOGAT 
ee ees 


~ x = 
LZ, 
CE Ve ATE 
A ; a a = 


a, 


Se) 
¢ 


—) 


Charles V., Titian, Munich Gallery. 


in an arm-chair in an open gallery. Painted 
at Augsburg in 1548 ; much re-painted.—C. 
& C., Titian, ii. 179. 

CHARLES V., ENTRY OF, Hans Makart, 
Hamburg Gallery; canvas. Entry of Charles 
V. into Antwerp, in 1520, after his corona- 
tion, as described by Albrecht Diirer in his 
diary. The Emperor, in armour, with the 
collar of the Golden Fleece across his 
breastplate, and riding an armour-clad 
horse, is the central figure of a magnificent 
procession of nobles, knights, and prelates, 
preceded by a body of lansquenets, which is 
passing through a narrow street of pictur- 
esque houses, adorned with banners, tapes- 


tries, and flowers, and with balconies and 
windows filled with ladies; in the fore- 
ground, near the Emperor, several ladies, 
nearly nude or thinly draped, march on 
foot, bearing imperial symbols; at left, 
groups of spectators, men, women, and 
children, with Albrecht Diirer standing be- 
hind them. Painted in 1875-78 ; Universal 
Exposition, Paris, 1878.—Pictorial World 
(1880), 198; Gaz. des B. Arts (1878), xviii. 
406. 

CHARLES V. AT FUGGER’S, Karl 
Becker, National Gallery, Berlin; canvas, 
H. 3 ft. 11 in. x 5 ft.; signed, dated 1866.. 
Charles V., just returned from Africa (1532), 
where he had overcome Barbarossa and re- 
stored to liberty many captive Christians, 
visited at Augsburg the banker Fugger, 
who entertained him by burning his bonds 
in a fire of cinnamon and other spices, as a 
thank-offering for destroying pirates and 
making business safer. Engraved by Zim- 
mermann. Replica (5 ft. x 7 ft.), John Wolfe, 
New York.—Art Treasures of America, i. 62. 

CHARLES V. AT MUHLBERG, Titian, 
Madrid Museum ; canvas, H. 10 ft. 11 in. x 
9 ft. 1 in. The Emperor, in full armour, 
with spear in hand, is cantering on a brown 
charger towards the Elbe, which runs to the 
right ; tall forest trees to left. Painted at 
Augsburg in 1548 ; once a masterpiece, but 
much damaged by fire in Palace of Pardo, 
Madrid, in 1608.—C. & C., Titian, ii. 178 ; 
Revue Universelle des Arts, iii. 189 ; Vasari, 
ed. Mil., vii. 440. 

CHARLES XV., King of Sweden, born 
in Stockholm, May 3, 1826, died there, 
Sept. 18, 1872. Landscape painter; pupil 
of Boklund, and later influenced by Ed. 
Bergh and Alf. Wahlberg ; painted Scandi- 
navian views, in which Malmstrém and 
Winge sometimes supplied the figures. He 
promoted the development of art in Sweden, 
and founded the Stockholm Museum. 
Works: Wood Interior (1869); On the 
Brook ; Ulriksdal Castle ; Stone of Freya on 
Sognefjord ; St. Sigfrid and the Smalanders ; 


View in Hardanger. 


a4 


CHARLET 


CHARLET, FRANZ, born at Brussels ; 
contemporary. Genre painter, pupil of 
Géréme, J. Lefebvre, and Portaels. Medal, 


yw : 
wh 
wo’ 


> 


Ww 
Wd Po NN 
\ 
Nana 


oO yl 
Ni 
oa 


Charles V. at Muhlberg, Titian, Madrid Museum. 


3d class, 1885. Works: Winter Morning 
(1882); Mowers (1883); Passing Funeral, 
Preparations for Market (1884); The Spin- 
ners—Morocco (1885). 

CHARLET, NICOLAS TOUSSAINT, 
born in Paris, Oct. 20, a 
1792, died there, Oct. f£ 
29, 1845. French 
school ; genre and bat- 
tle painter, pupil of 
Gros. Supported him- 
self, while with Gros, 
by giving lessons in 7 
drawing. Was inti- % 
mate with Géricault, 
with whom he visited England in 1836. His 
lithographs number nearly 2,000. Works: 
The Cure’s Visit; The Antiquary ; Grand- 
papa’s Feast; Burlesque Concert ; The Im- 
provisatore ; Episode in Russian Campaign 
(1836), Lyons Museum ; Crossing the Rhine 
at Kehl (1837), Versailles Museum ; Convoy 
of Wounded Soldiers, Valenciennes Museum. 


—Ch. Blane, Ecole frangaise ; L’Art (1875), 
1, 193, 217; M. de la Combe, Charlet, sa vie, 
etc. (Paris, 1856); Meyer, Gesch., 469 ; La- 
rousse, ili. 1021. 

CHARMADAS, Greek painter, date un- 
known ; one of earliest workers in mono- 
chrome. Pliny, xxxv. 34 [55]; Brunn, ii. 4. 

CHARMANTIDES (Carmanides), painter, 
third class; pupil of Huphranor, Theban- 
Attic school, 370-336 8. c. Pliny, xxxv. 40 
[146]; Brunn, ii. 164, 

CHARNAY, ARMAND, born at Charlieu, 
Paris; contemporary. Landscape painter, 
pupil of Feyen-Perrin and Pils. Studio at 
Marlotte (Seine-et-Marne). Medal, 3d class, 
1876. Works: Abandoned Lime Kiln 
(1868); All Souls’ Day, Beach at Yport, 
Arrival of Fishing Boats at Yport, Hour for 
Riding, Back Yard of Castle of Gastellier 
near Charlieu (1874); Casting the Net (1876); 
Butcher's Shop, October (1879); At the End 
of the Park (1880); Autumn Rain (1881); 
Street in Carcenague, Market (1882) ; Fish- 
ing Party (1883); Evening (1885). 

CHARPENTIER, LOUIS EUGENE, born 
in Paris, June 1,1811. Military and genre 
painter, pupil of Gérard and Cogniet ; was 
for twenty-six years professor of designing 
at Versailles. Medals: 3d class, 1841 and 
1857. Works : Bivouac of Cuirassiers (1831); 
Hunters asking the Way (1837); Break of a 
Dutch Dyke (1839); Defence of Aubervil- 
liers-les-Vertus (1841); Robert le Diable 
(1842); Capture of the Great Redoubt at 
Moskowa and Death of Caulaincourt (1843); 
Halt of French Army on Great St. Bernard 
(1844); Duke of Orléans in the Trenches 
(1845), Versailles Gallery ; Sedaine compos- 
ing an Opera, Beaumarchais teaching the 
Daughters of Louis XV. (1848); Field Guns 
(1851) ; Pupils of the Ecole Polytechnique 
in the Battle of Paris, March 30, 1814 (Bou- 
logne-sur-Mer); Battle of Tchernaia (1857), 
Versailles Museum ; Camp of Chalons (St. 
Cloud); Imperial Guard at Magenta (1861); 
Capture of Bomarsund (1863); Death of the 
Vendéean General Bonchamps (1834); Siege 
of Toulon, A Soldier’s Alms (1866); The 


275 


CHARTRAN 


Ford, Sharpshooters (1868); On the Road to 
Valmy, Target of Saint-Chaumont (1869); A 
Courier, Light Artillery (1874); Forge (1875); 
Convoy, Autumn Manceuvres (1876); A Bat- 
tery (1877); Retreat from Inkermann, Winter 
‘Campaign (1878); Draught Horses, The 
Wounded (1880); The General Staff (1881); 
Forward! The Forge (1882); Washington’s 
Tent, French Cavalry in 1670 (1883); Wel- 
lington in Spain (1884); Hollow Way, Lime 
Kiln (1885). j 

CHARTRAN, THEOBALD, born at Be- 
Sangon; contemporary. Genre and _por- 
trait painter, pupil of Cabanel. Won the 
grand prix de Rome in 1877. Medals: 3d 
class, 1877; 2d class, 1881. Works: Angel- 
ica and Roger (1875); Girl of Argos at 
Tomb of Agamemnon, Gentleman of Court 
of Henry IL. (1876); St. Saturnin (Church 
of Champigny-sur-Marne); Martyr in Cata- 
combs at Rome (1877); Woman Playing 
Lute (1880) ; The Taper (1881); Vision of 
St. Francis of Assisi (1883) ; The Betrothal 
(1885). 

CHASE, HARRY, born in Woodstock, Vt., 
in 1853. Landscape and marine painter, 
studied in Munich, at The Hague, and in 
Paris under Soyer. Elected an A.N.A, in 
1883. Studio in New York. Works: Breezy 
Afternoon off the Battery—New York, T. 
B. Clarke, New York; Pécheurs Anglais, 
Kullen Point—Sweden, Low Tide—Welsh 
Coast (1878); Herring Fishers of Scheven- 
ingen — Holland (1880); Outward Bound 
Whaler, Dutch Boats at Anchor, Dutch 
Trawlers (1881); Bringing the Fish Ashore, 
Departure of a French Brig (1882); Coast 
of Holland, Dredging for Scallops near New 
Bedford, Summer Morning—French Coast 
(1883); Near Dordrecht, Battery Park—New 
York (1884); Rising Tide on Dutch Coast, 
New York Harbour (1885). 

CHASE, WILLIAM MERRITT. born at 
Franklin, Indiana, Nov. 1, 1849. Still-life 
and portrait painter ; pupil of B. F. Hayes, 
portrait painter in Indianapolis, of the Na- 
tional Academy, and of J. O. Eaton, New 
York. Studied six years from 1872 at the 


Munich Academy under Wagner and Piloty, 
and painted one year in Venice. Honour- 
able mention 
in Salon, 1882. 
Studio in New 
York. Works: 
Portraits of 
Piloty’s Chil- 
dren; Vene- 
tian Fish Mar- 
ket ; Dowager 
(1875) ; Boy 
Feeding a 
Cockatoo, 
Broken Jug (1877); Ready for a Ride, The 
Apprentice (1878) ; Interior of St. Mark’s— 
Venice, Court Jester, Portrait of Duveneck 
(1879); do. of Gen. Webb (1880); do. of 
Peter Cooper (Paris Salon, 1882) ; Interior 
of Artist’s Studio (1883); The Coquette 
(1884).—Am. Art Rev. (1881), 91, 135. 

CHASSERIAU, THEODORE, born in 
Panama, Sept. 20, 1819, died in Paris, Oct. . 
8, 1856. History and portrait painter, pu- 
pil of Ingres, but later an imitator of Dela- 
roche. Medals: 3d class, 1836; 2d class, 
1844 and 1855 ; L. of Honour, 1849. Works: 
Return of Prodigal Son (1836); Ruth and 
Boaz (1837); Susanna, Venus Anadyomene 
(1839); Christ in Garden of Olives (1840) ; 
Andromeda (1841); Descent from Cross, 
Esther preparing to meet Ahasuerus, Cap- 
tive Trojan Women (1842); Caliph of Con- 
stantine (1845); Sabbath in Jewish Quarter 
of Constantine (1848); Arab Horsemen 
carrying off their Dead, Desdemona, Moor- 
ish Women playing with a Gazelle (1850); 
Baptism of the Eunuch, St. Francis Xavier 
baptizing the Indians and the Japanese, mu- 
ral paintings in a chapel of St. Roch, Paris 
(1850); Christ with Martha and Mary (1852); 
Woman of Mola (1850); The Tepidarium, 
Defense of the Gauls (1855).—Ch. Blane, 
Keole frangaise ; Larousse. 

CHASTITY, TRIUMPH OF, Luca Sig- 
norelli, National Gallery, London ; fresco, 
transferred to canvas, H. 4 ft.x 4 ft. 4 in.; 
signed. In foreground, Cupid on his knees 


276 


CHATHAM 


bound by maidens, who have taken his 
darts and broken his bow; three male fig- 
ures looking on ; in background, two other 
groups of maidens, in one of which Cupid 
is being captured and in the other led away 
with his arms pinioned.— Nat. Gal. Cat.; 
Richter, 49. 

CHATHAM, DEATH OF, John Single- 
ton Copley, National Gallery, London ; can- 
vas, H. 7 ft. 6 in. x10 ft.1in. Scene in old 
House of Lords, April 7, 1778. Earl of 
Chatham fainting in making an effort to re- 


CHAUVIN, AUGUST, born at Liége in 
1810. History painter, pupilof Diisseldorf 
Academy under Schadow; was for several 
years drawing-master to the Prince of Neu- 
wied, returned to Diisseldorf in 1841, after- 
ward went to Liége as professor at the acad- 
emy of which he is now director. Works: 
Departure of Tobias; Prayer of Moses; 
Flight into Egypt (1850); Hagar in the 
Desert ; Adoration of the Magi; Conversion 
of Saul ; Banquet of Pepin of Héristal, Liége 
Museum.—Miiller, 102. 


: Wis 
Gi? . DAMES AANA 
oO We 


=—- 
ane — Pe Meas KNOT IA = — 4 
eee (Ss ea 


less a VIOLOS 


| gi 


: . 
i Ee at,’ 
aoe” ae x 
sy 
~ aa y 
CHARICE SYM Se 
. % LOMA) A sot = aay Nig 
AS ner, BRR AOU te Vaal Te sf 
» Y fa a Css me ie < 
5 d 
A. Lak ey, NS Mees eX 
AGN \\ Ve ak RS 
is Xe Ny Wa XS. 
r 
| 


& 


Death of Chatham, John Singleton Copley, National Gallery, London. 


ply to Duke of Richmond’s speech on a mo- 
tion respecting an address to the king, inti- 
mating the necessity of acknowledging the 
independence of the United States. The 
Earl was carried home, and died May 11. 
The fifty-five heads are all portraits—peers 
in state robes. Duke of Richmond promi- 
nent figure to right. Painted in 1777-80; 
presented in 1828 by Earl of Liverpool. Two 
studies in monochrome in National Gallery. 
Engraved by F. Bartolozzi ; and in small in 
Jones’s National Gallery.—Cat. Nat. Gal. 


CHAVET, VICTOR, born at Aix (Bou- 
ches-du-Rhone), July 21, 1822. Genre 
painter, pupil of P. Révoil and C. Roque- 
plan. Medals: 3d class, 1853; 2d class, 
1855 and 1857 ; L. of Honour, 1859. Works: 
Singing Lesson (1847); Charles VII. and 
Agnes Sorel at the Astrologer’s, Coming 
out of Bath, Pleasant Idleness (1848); Van 
Dyck and his Mistress (1851); Young La- 
dies looking at a Jewel (1852); Concert 
(1853); Honeymoon (1855); Playing Domi- 
noes (1857); The Amateur (1859), W. T. 


207 


CHELMINSKI 


Walters, Baltimore ; Bag-Piper of the 72d 
Highlanders, Woman Asleep (1859), Luxem- 
bourg Museum ; Jewish Goldsmith at Mous- 
taganem (1859); Rest in the Island (1866); 
Difficult Answer (1870); Corner of Hearth 
(1872); Young Nobles of Court of Henri 
IIL. (1873); The Model Resting (1874); Con- 
fidence, Imprudent, Illusion (1875); Wash- 
erwomen (1877); Reading the Paper (1878); 
‘Woman Reading (1879). 

CHELMINSKT, JAN, born at Brzdstov, 
Poland, Jan. 27, 1851. Genre and land- 
Scape painter, pupil of the Munich Acad- 
emy and of Franz Adam. Studio in Mu- 
nich.’ Works: Stag-Hunt in time of Louis 
XY.; Starting for the Chase; Morning 
in the Ukraine; By a Tavern; Polish In 
surgents ; Goins to Church ; Huntsman 
on Hereebenk: Thawing in a Ukraine ; 
Outposts ; Onienncs aad Dragoon ; Sike: 
Hunt.in 18th Century (1879), New Pinkie 
thek, Munich ; Corso in 18th Century (1883); 
Carnival in Poland (1884).—Miiller, 103 ; 
N. illustr. Zeitg. (1880); i. 55; (1881), i. 58. 

CHELSEA PENSIONERS, Sir David 
Wilkie, Apsley House, London; canvas. 


Reading the Gazette of the battle of Water-. 


loo. Chelsea pensioners seated around a 
deal table, in front of the Duke of York Inn, 
with Chelsea Hospital in the background. 
A hussar orderly has just ridden up with a 
copy of the Gazette, which one of the old 
heroes is reading aloud; many other fig- 
ures grouped around. Painted in 1821 for 
the Duke of Wellington, who paid 1200 
guineas for it. Sketch in Baring Collection. 
Engraved by J. Burnet.—Redgrave, Cen- 
tury, ii. 270; Heaton, Works of seis W.; 
Mollett, 61; Waagen, Art Treasures, ii. 189, 
273. 


CHENAVARD, PAUL JOSEPH, born! 


in Lyons, Dec. 9, 1808. History painter, 
pupil of Hersent and Ingres; spent several 
years in Italy. The leaders of the February 
Revolution ordered of him a series of large 
paintings for the Pantheon, which were not 
all finished when the Revolution ended. 
Medal, 1st class, 1855; L. of Honour, 1853. 


Works: Sentence of Louis XVI., Mirabeau 
replying to Marquis of Dreux-Brézé (1829), 
Deluge, Death of Zoroaster, Trojan War, 
Death of Socrates, Ceesar crossing the Rubi- 
con, Italian Poetry, Age of Louis XIV., Au- 
gustus closing Doors of Temple of Janus, 

Attila stopped before Rome, The Beginning 
of the Reformation (all exhibited in 1853) ; 

Death of Cato and of Brutus, Birth of 
Christ, National Convention (1855) ; Divina 
Tragedia (1869), Luxembourg Museum.— 
Ch. Blanc, Artistes de mon Temps, 191; La- 
rousse. ; | 

CHERON, LOUIS, born in Paris in 1655, 

died in London in 1713. French school; 

history painter and engraver; studied hes 
of Raphael and G. Romano in Italy; re- 
turned to Paris in 1688, but being a Calvin- 
ist was obliged to leave in 1695, and went 
to England, where he was employed in the 
decoration of Boughton, Burley, and Chats- 


worth. Works: Diana and Nymphs Bath- 


ing (engraved by Baron); Marriage of — 
Charles I (engraved by Dupuis). He made 
designs for an edition of Paradise Lost, 
published in 1720.—Bryan (Graves) ; Red- 
erayve. 

CHERY, PHILIPPE, born in Paris in 
1759, died there in 1838, French school; 
history and portrait painter, pupil of Vien ; 
left France during Revolution ; returned in 
1802, and received prize of 12,000 francs 
in the competition of the year XI. (1803) for 
his Treaty of Amiens. Works: Annuncia- 
tion, Church of Generville ; St. Cecilia, Bene- 
dictine Convent, Boulogne-sur-Mer ; Death 
of Father of Louis XVI. (1817); Thrasybu- 
lus reéstablishing Democratic Government 
at Athens; Death of Alcibiades; Birth of 
Venus ; Toilet of Venus.—Bryan (Graves). 

CHEVALIER, NICHOLAS, born in St. 
Petersburg about 1830. Son of a Swiss 
father and a Russian mother; became, 
when eighteen years old, a student in the 


Munich Academy, whence he went in 1851 


to London, and in 1852 exhibited two 
water-colours at Royal Academy. After 
studying two years in Italy, went to Mel- 


278 


CHEVY 


bourne, Australia, where he resided from 
1859 to 1867. In 1865, 1866, and 1868, he 
explored a large part of New Zealand, mak- 
ing many sketches, and in 1869 and 1870 
he accompanied the Duke of Edinburgh in 
his visit to the South Sea Islands, Japan, 
China, India, etc. Since then he has resided 
chiefly in England and has executed many 
works, several of them by royal commission. 
Works: Pilgrims at Tivoli, Buffalo Ranges 
(1865) ; Atiamano—Island of Tahiti (1871) ; 
Palace of Deeg—Bhurtpore (1872) ; Thanks- 
giving Procession to St. Paul’s (1873) ; Blind 
Musicians of Japan (1874); Review in St. 
Petersburg (1875) ; Opening of Exhibition of 
Vienna in 1873 (1877) ; Eastern Shepherd, 
Eastern Puzzle (1878); Hinemoa (1879) ; 
The Convalescent (1882).— Art Journal 
(1879), 121. 

CHEVY-CHACH, Sir Edwin JLandseer, 
Duke of Bedford, Woburn Abbey ; canvas. 
Scene from ballad of Chevy-Chace: Earl 
Percy of Northumberland hunting on the 
property of the Scottish Earl of Douglas. 
Royal Academy, 1826. Engraved by C. G. 
Lewis. —Art Journal (London, 1876), 116. 

CHIALLI, VINCENZO, born at Citta di 
Castello, Umbria, July 27, 1787, died at 
Cortona, Sept. 4, 1840. History painter, 
pupil in Rome of Camuccini; painted there 
and in Borgo San Sepolcro, Urbino, Pesaro, 
and Venice, many religious pictures and 
portraits in the style of his master ; lived in 
Rome in 1815-22 ; afterwards in his native 
city, Florence, and other Tuscan and Um- 
brian cities, until 1825, when he settled at 
San Sepolcro, whence in 1835 he moved to 
Cortona as director of the school of paint- 
ing. Works: Cemetery (1823), Mass (1824), 
Palazzo Pitti ; Dante in the Abbey of Fonte 
Avellana ; Raphael and Fra Bartolommeo in 
Convent of San Marco; Young Raphael 
with his Parents (Cartoon).—Fr. Gh. Drago- 
manni, Vita e Opere di V. Ch. (Florence, 
1841). 

CHIARI, GIUSEPPE, born in Rome in 
1654, died there in 1727. Umbrian school ; 


cuted many excellent easel pictures and 
wall paintings, also frescos in several 
churches and palaces in Rome. Works: 
Nativity, Adoration of the Magi, San Maria 
del Suffragio, Rome; four subjects from 
Ovid, Palazzo Spada, Rome; portrait of 
himself, Uffizi, Florence ; Adoration of the 
Magi, Dresden Gallery ; Holy Trinity, Lord 
Scarsdale, Kedleston Hall; three pictures at 
Hampton Court; frescos in Colonna and 
Barberini Palaces and in 8. Maria di Monte- 
santo, Rome. 

CHIERICI, GAETANO, born at Reggio, 
Italy, in 1838. Genre painter; noted for 
humourous interior scenes, with children. 
Works: The Bath, Mother is Ill (1872); 
Fun and Fright (1874), Corcoran Gallery ; 
Charity ; New Mayor of the Village; Girl 
and Kitten ; Saturday Frolic ; Sheriff’s Ar- 
rest ; First Love ; Old Music Teacher (1873); 
Child’s Grief; Bathing the Baby; Mother 
is I] (1876); Widow’s Dinner (1877). 

CHILDE HAROLD'S PILGRIMAGE, 
Joseph M. W. Turner, National Gallery, 
London ; canvas, H. 4 ft. 8 in. x 8 ft. 2 in. 
Italy—ancient and modern. A mountainous 
landscape at evening, with a winding river ; 
to the right, a broken bridge ; to the left, a 
pile of ruins; in foreground, a solitary 
stone-pine, and a party of pleasure seated 
on the river bank. Royal Academy, 1832. 
Engraved by J. T. Willmore, in Turner 


Gallery. 

CHILDREN OF THE SHELL. See 
Christ and St. John. 

CHILDREN’S FESTIVAL, Ludwig 


Knaus, National Gallery, Berlin; Canvas, 
H. 3 ft. 6in. x4 ft. 9 in. Children, in the 
costume of the 18th century, feasting at long 
tables spread under the trees of an orchard ; 
in background, parents with grown children 
and a band of music; in middle-ground, 
younger ones, the boys imitating the gal- 
lantry of their elders ; in foreground, the 
little ones, attended by an older girl. 
Painted in 1869. Engraved by Habellmann. 

CHILL OCTOBER, John Everett Millais, 


history painter, pupil of Carlo Maratti; exe-) Sir William Armstrong, London.—A bank 


279 


CHIMENTI 


of willows on the water’s brink strikes in 
dark shade against the light of a gray Oc- 
tober sky; in foreground, thickly-set water- 
reeds. Mr. Millais’s first exhibited land- 
scape. Royal Academy, 1871. Etched by 
Brunet Debaines.—Art Journal (1871), 149 ; 
Builder (1871), 380. 

CHIMENTI, JACOPO. See Empoli. 

CHINTREUIL, ANTOINE, born at Pont- 
de-Vaux, Ain, May 5, 1814, died at Sep- 
teuil, Seine-et-Oise, Aug. 10, 1873. Land- 
scape painter, pupil of Corot ; industrious 
and original, especially skilful in treatment 
of foreground and of sunlight. His pict- 
ures have increased in value since his death. 
Medal, 1867 ; L. of Honour, 1870. Works: 
Valley of Igny (1852); The Moors, Autumn 
Evening (1853); The Country in the Morn- 
ing (1855); After the Rain, Reims Museum ; 
Evening, Angers Museum ; Paths bordered 
with Apple-Trees, Coming out of the Woods 
(1857), Bourg Museum; The Deer Pond, 
Mende Museum; Rain (1859); The Aube 
after a Stormy Night, Potato Field, Broom- 
Plant in Flower (1861); Fields in the Early 
Dawn, Field of Sainfoin, November (1863, 
rejected by the Salon, but admired by the 
critics); Sunset with Ruins, Macon Mu- 
seum; Meadow (1864); Scotch Mist, St. 
Malo Museum ; Vapors of Evening (1865); 
Twilight, Pont-de-Vaux Museum ; Country 
during a Hailstorm (1866), Rodez Museum ; 
Meadows with Oats, Country in Autumn 
(1867); Aurora, Flood (1868); Space, Woods 
in Sunlight (1869); The Moon, A Beam of 
Sunlight on a field of Sainfoin (1870); Apple- 
Trees and Broom-Plants in Blossom, Close 
of Day (1872); Rain and Sunlight, Low 
Tide, The White Road (187 3); Thicket 
with Deer (1873), Luxembourg Museum.— 
Larousse ; Gaz. des B. Arts (1869), i. 508. 

CHIODAROLO, GIOVANNI MARIA, 
flourished about 1520. Bolognese school ; 
pupil of Francesco Francia and rival of 
Aspertini, Girolamo da Cotignola, and Inno- 
cenzo da Imola. An Adoration of the Child 
by him is in the Bologna Gallery.—Ch. 
Blanc, Ecole bolonaise ; Burckhardt, 585, 586. 


CHODOVIECKI, DANIEL NICOLAUS, 

born in Dantzic, Oct. 16, 1726, died in Ber- 
lin, Feb. 7, 1801. 

German school ; 
portrait painter, 
taught drawing 
by his father, an 
amateur; later 
studied in Berlin 
under Haid, a 
pupil of Rugen- 
das, until 1745, 
=‘ when he devoted 
himself to portrait painting in little. Elected 
rector of the Academy in 1764, vice-director 
in 1788, and director in 1797. Works: 
Calas taking Farewell of his Family (1766); 
Blind Man’s Buff, Cock-Throwing (1768), 
Berlin Museum; Rest- ‘ 
ing Place in the Thier- Oe hod n_ 
garten, Leipsic Muse- 168: 
um.—Allgem. d. Biog., 


iv. 132; Brockhaus, iv., 330; Dohme, 1ii. ee 


Woltmann, Aus vier Jahr hunderten, 147; 
Pecht, iii. 51; Riegel, 49. 

CHOULANT, THEODOR, born in Dres- 
den, July 18, 1827. Architecture painter, 
pupil of Dresden Academy under Semper ; 
visited Italy and Sicily in 1850-51, lived in 
Rome in 1858-61 and studied again in Venice 
and Florence in 1864 and 1873-74. Saxon 
court-painter in 1868. Works: Castle S. An- 
gelo, Rome, Dresden Museum; The Hight 
Ancestral Castles of the House of Saxony 
(fresco), Royal Palace, ib.; Vestibule, Court- 
theatre, ib.—Meyer, Conv. Lex., xviii. 202. 

CHRIST AND THE ADULTERESS. 
See Woman taken in Adultery. 

CHRIST WITH ANGELS (Crucifix aux 
Anges), Charles Lebrun, Louvre, Paris ; can- 
vas, H. 5 ft. 9 in. x4 ft. 2in. Angels in the 
air and others kneeling on the ground are in 
adoration before Christ expiring on the cross. 
At foot of cross, the crown of France on a 
blue velvet cushion. Painted in 1686 to 
illustrate a dream of the queen-mother, 
Anne of Austria. Engraved by G. Edelinck, 
P. Drevet.—Villot, Cat. Louvre. 


280 


CHRIST 


CHRIST, ASCENSION OF. See Ascen- 
sion. 
CHRIST, BAPTISM OF, Francesco Al- 
bant, Bologna Gallery; canvas, H. 13 ft. 5 in. 
x6 ft. 10 in. St. John pouring water on 
the head of Christ, who stands in the stream 


Baptism of Christ, Francesco Albani, Bologna Gallery, 
supported by two angels, while the dove is 
descending; above, in the heavens, the 
Eternal, surrounded by angels and cherubs. 
Formerly in S. Giorgio, Bologna, whence 
removed to gallery in 1823. Engraved by 
G. Mitelli; I’. Rosaspina.—Pinac. di Bologna, 
Pl. 35. 

By Gheerardt David, Bruges Academy ; 
wood, triptych, centre, H. 4 ft. 4 in. x3 ft. 
3 in. In centre, Christ, in a hip cloth, stand- 
ing up to his knees in Jordan ; to left, St. 


281 


John pouring water from the hollow of his. 
hand upon his head ; to right, an angel, in 
a cope of gold brocade, carrying the robe; 
above, God the Father in benediction. On 
right wing of triptych, Jean des Trompes 
kneels with his son Philip under the protec- 
tion of St. John Evangelist ; on the left, his. 
wife, Elizabeth Van der Meersch, is attended 
by her four daughters and St. Elizabeth of 
Hungary. Painted in 1507 for Jan des. 
Trompes, after whose death placed in S. 
Basile, Bruges, whence taken to Paris in 
1794 ; restored in 1815.—Kugler (Crowe), 
1.112; C.&C., Flemish Painters, 303 ; Beff-. 
roi, 1. 966; 11. 294, : 

By Francesco Francia, Dresden Gallery ; 
wood, H. 6 ft. 6 in. x 5 ft. 7 in. ; signed, dated 
1509. Christ, with hands joined, standing 


in the water ; St. John, kneeling on bank to oe, 
left, with a dish in his right hand and a staff ~~ 


in his left; behind, disciples and angels, 


Formerly at Modena; damaged in bombard- fhe 


ment of Dresden in 1760. Replica at Hamp- 
ton Court, probably acquired by Charles I. 
with Mantuan collection.—C. & C., N. Italy, 
1. 573; Law, Hist. Cat. Hampton Court, 97. 

By Guido Reni, Vienna Museum ; canvas, 
H. 8 ft. 2 in.x5 ft. 9 in. Christ, standing 
in the water, is baptised by John in the 
Jordan. Three angels hold his vestment 3. 
from above, the Holy Ghost descending in 
form of a dove. Engraved by J. Pichler ;. 
Steinmiiller.—Gal. de Vienne, ii. Pl. 66. 

By Murillo, Duc de Montpensier, Chateau. 
de Randau, Puy de Déme, France ; canvas, 
H. 8 ft. 9in. x5 ft. lL in. The Saviour on 
left, standing with hands crossed ; on oppo- 
site side of rivulet, St. John standing hold- 
ing a reed cross in left and pointing with 
right hand to Christ ; above the Saviour an 
eagle and an inscription ; above St. John a 
winged bull and an inscription. Purchased 
from nuns of 8. Leandro by Don A. Bravo, 
who sold it to Louis Philippe ; Louis Phil-. 
ippe sale (1853), £660. Lithographed by 
Sevestre.—Curtis, 190; Univers. Illustré, Jan. 
14, 1861. 

By Murillo, Seville Cathedral; canvas, 


CHRIST 


arched, figures life-size. The Saviour, with 
only a white drapery about his loins, kneel- 
ing on banks of the river, with hands crossed 
on breast; St. John, partly clothed in rai- 
ment of camel’s hair, standing on right, hold- 
ing a reed cross and pouring water from a 
shell on head of Christ ; above, on left, two 
cherubs with garments of Jesus; above, 
centre, the Dove; background, landscape 
and river Jordan. Restored in 1875.—Cur- 
tis, 189. 

By Rubens, M. Schamp, Ghent; canvas. 
Christ nude, except loins, standing in Jor- 
dan, with the Dove descending on his head; 
St. John, standing on bank, pours water on 


his head from a shell ; to right, three angels | |-\\ 


in air, holding his raiment; above, three 
more angels; to left, four men, preparing for 
baptism, and two women, one of whom holds 
a child. Painted in Italy in 1604-6 for S. 
Trinita, Mantua. 

By Tintoretto, S. Silvestro, Venice ; canvas, 
arched at top, H. about 15 ft. x 10 ft. Christ 
in the water and St. John on the shore, 
without disciples or witnesses ; the Jordan 
represented as a mountain brook, receiving 
a tributary stream in a cascade from the 
rocks. In the arch above is the Father sup- 
ported by angels, not by Tintoretto, the up- 
per part of the picture being an addition.— 
Ruskin, Stones of Venice, ili. 358. 

By Tintoretto, Scuola di S. Rocco, Venice ; 
canvas. Figures thin and meagre in form, 
and slightly painted ; of the nineteen figures 
in the distance about a dozen are little more 
than sketches.—Ruskin, Stones of Venice, 
ili. 336. 

By Tintoretto, Vienna Museum; canvas, 
H. 3 ft. x3 ft. 11 in. Landscape with Bap- 
tism of Christ in the Jordan.—Cat. Vienna 
Mus. 

By Paolo Veronese, Pitti, Florence ; can- 
vas, H. 6 ft. 4 in. x4 ft.4 in. John Baptist 
baptising Christ, who kneels on a rock in 
the Jordan ; three angels near by ; above, 
the Dove, with light emanating from it. 


Engraved by Rosaspina.—Gal. du Pitti, i. 
Pl. 14, 


By Andrea del Verrocchio, Florence Acad- 
emy ; wood, H. 5ft.9in. x4 ft.8in. Christ 
standing in the stream with clasped hands, 
while St. John pours water on his head ; at 
left, two angels kneel on the bank, near a 
palm tree. Painted for the brethren of 
Vallombrosa at S. Salvi. Verrocchio was 
aided by his pupil Leonardo da Vinci, who 


rf - 
qt hs 


a boll br a 
Fad moe 
= y ae “4 


— 


i 
\ 
\ 
\ SU 
UC Ep ARNT V 
pS 
i 


Baptism of Christ, Andrea del Verrocchio, Florence Academy, 


probably painted the charming angel show- 
ing his full face. Vasari says that the mas- 
ter, seeing himself outdone by the pupil, re- 
solved never again to take pencil in hand.— 
Vasari, ed. Mil., 111. 366; C. & C., Italy, ii. 
407; Gall. Accad. di Firenze, Pl. 44; 
Jameson, Hist. Our Lord, i. 296. 

Subject treated also by Paris Bordone, 
Brera, Milan; Pietro Perugino, Perugia 
Gallery ; Pietro Perugino, Vatican, Rome; 
Joachim de Patinir, Vienna Museum ; Ales- 
sandro Tiarini, Vienna Museum ; Tintoretto, 
Madrid Museum ; Taddeo Gaddi, National 
Gallery, London; Piero della Francesca, 
National Gallery, London; Francesco Al- 
bani, Hermitage, St. Petersburg; Cornelis 
Corneliszen, Hermitage, St. Petersburg ; 
Hendrik Goltzius, Hermitage, St. Peters- 
burg ; Rogier van der Weyden, Berlin Mu- 


282 


CHRIST 


seum; Pietro Perugino, Vienna Museum ; 
Juan Fernandez Navarrete, Madrid Museum; 
Lorenzo di Credi, Uffizi, Florence ; Vincen- 
zo Civerchio, Louvre ; Vincenzo Carducho, 
Madrid Museum. 

CHRIST, BETRAYAL OF. See Judas, 
Kiss of. 

CHRIST, BIRTH OF. See Nativity. 

CHRIST AND THE BLIND. See Jeri- 
cho, Blind men of. 

CHRIST ON CALVARY, Mihail Mun- 
kacsy, Paris; canvas, H. 19 ft. x 25 ft. The 
three crosses in foreground, at right, against 
a sky black with clouds and illuminated 
with lightnings, the city being just discern- 
ible on the horizon ; Christ, pale and lean- 
ing forward, has just expired ; the Virgin, 
Mary Magdalen, and John are kneeling at 
the foot of the cross, beside which the Cen- 
turion has dropped in terror; all the re- 
mainder of the canvas filled with the terror- 
stricken-crowd—Jewish men and women, 
the executioners with their implements, rab- 
bis discussing the event, Roman cavalry, and 
in front Judas—all hastening down the hill. 
Painted in 1883-84. 

CHRIST ON WAY TO CALVARY. See 
Calvary, Procession to. 

CHRIST AND THE CENTURION (Mat- 
thew, viii. 5), Paolo Veronese, Madrid Mu- 
seum; canvas, H. 6 ft. 3 in. x 9 ft. 6 in. 
The centurion kneeling between two soldiers 
on the marble pavement of a spacious edi- 
fice, before Christ, who is accompanied by 
two apostles and others; background, a 
splendid building of Renaissance architect- 
ure. Placed by Philip IV. in the Escorial, 
whence brought to the Museum. A smaller 
canvas, same subject, in the Museum, from 
Collection of Charles I.—Cat. Museo del 
Prado. 

CHRIST AND THE CHILDREN, Lucas 
Cranach, the elder, Baring Collection, Lon- 
don. The mothers and the children are in 
quaint, old German costumes. Other treat- 
ments of the subject, which Cranach painted 
several times, are in the Stadtkirche, Naum- 
burg, and the Paulinerkirche, Leipsic. 


By Johann Friedrich Overbeck, Meyer 
Collection, Hamburg. Christ standing in a 
landscape, with both hands raised, is bless. 
ing the children who are gathered, some 
kneeling, some standing, around him; at 
sides, the mothers, and in background, dis- 
ciples. 

Subject treated also by Rembrandt (at- 
tributed), National Gallery, London ; Jan 
de Bray, Haarlem Museum ; Sebastien Bour- 
don, Louvre. 

CHRIST, CIRCUMCISION OF. 
Circumeision. 

CHRIST AT THE COLUMN. See Fla- 
gellation. ; 

CHRIST BEARING THE CROSS, Paolo 
Morando, VeronaGallery. Christ, with a rope 
around his body and led by an executioner, 
is bearing the cross on his right shoulder, 
aided by Simon of Cyrene, who is holding 
up the lower end; background, a rocky 
landscape.—Jameson, Hist. Our Lord, ii. 
114. 

By Raphael. See Spasimo di Sicilia. 

By Titian, Scuola di S. Rocco, Venice ; can- 
vas. Four figures: Christ, bending under 
the cross, is dragged by an executioner with 
a cord, while two persons, one at each side, 
look on. Painted before 1517 ; worshipped 
for the miracles it was supposed to perform, 
and attracted such offerings that the breth- 
ren of S. Rocco were enabled to rebuild 
their house from the fortune it brought 
them. Vasari ascribes it both to Titian and 
to Giorgione.—Vasari, ed. Mil., iv. 97; vii. 
437; Sansovino, Ven. desc., 288; C. & C., 
Titian, i. 60. 

Subject treated also by Albrecht Diirer, 
Bergamo Gallery, Dresden Gallery; Pie- 
ter Brueghel, the elder, Uffizi, Florence ; 
Polidoro da Caravaggio, Naples Museum ; 
Garofolo, Palazzo Corsini, Rome, Hermitage, 
St. Petersburg ; Pieter Brueghel, the young- 
er, Antwerp Museum ; Titian, Madrid Mu- 
seum ; Paolo Veronese, Louvre, Paris ; Luis 
Morales, Louvre ; Eustache Le Sueur, Lou- 
vre ; Lodovico Carracci, Hermitage, St. Pe- 
tersburg ; Andrea da Solario, Palazzo Borg- 


See 


283 


CHRIST 


hese, Rome ; Sebastian del Piombo, Dresden 
Gallery, Hermitage, St. Petersburg; Titian, 
Madrid Museum; Gaudenzio Ferrari, Can- 
obbio. 

CHRIST ON THE CROSS, Léon Bonnat, 
Palais de Justice, Paris; Canvas. A tri- 
umph of naturalistic art. Painted, it is said, 
from a dead body fastened upon an actual 
cross in an inner court of the Ecole de 
médecine. Thesufterer, in the midst of the 
most horrible pain, seems to strain in a last 
effort ; his muscles contract, his veins swell, 
and the light which brings all into pitiless 
relief, clearly defines each swollen limb. It 
is not the Son of God, suffering but re- 
signed ; it is a vulgar man, who has lived a 
common life, and whose body undergoes 
tortures in which the soul does not share. 
Salon, 1874.—Claretie (1884), 140. 

By Albrecht Direr, Dresden Museum ; 
wood, H. 84x 64 in.; dated, 1506. Christ, 
with eyes upraised and mouth open, about to 
give up the ghost; the crown of thorns is 
upon his head, and about the loins is a cloth 
with flowing ends; background, a landscape 
with a black sky. “Rivals the creations of 
L. da Vinci.” Formerly in Collection of 
Rudolph IL; bought from Boehm Collec- 
tion, Vienna, in 1865. Engraved by Theo. 
Langer (1868).—Gal. Roy. de Dresde, iii. 
Pl. 47; C. & C.,_No Italy, 2 173 tan, 
1.117; Thausing, 1. 356. 

Anton van Dyck, Antwerp Museum ; can- 
vas, H. 9 ft. 10 in.x7 ft. 8 in. Christ ex- 
piring on the eross; on the left St. Domi- 
nick, on the right, St. Catherine of Siena ; 
above, two angels, and a third seated at foot 
of cross. Painted in 1629 and presented by 
Van Dyck to Ch. of Dominicans, Antwerp, 
in memory of his father, who died in that 
city, Dec. 1, 1622; sold on suppression of 
convents (1785) for 6,000 florins ; carried to 
Paris, and restored in 1815. Engraved by 
Bolswert.—Head, 17. 

By Anton van Dyck, Antwerp Museum ; 
wood, H. 3 ft. 6 in. x2 ft. The Saviour ex- 
piring on the cross; in distance, Jerusalem 
seen faintly. Engraved by Lourie ; Burdet 


(1864); Vermeiren (1875); E. Corr (1875); 
KE. Pfeiffer ; L. Lelli. Copy in S. Jacques, 
Antwerp.—Smith, ii. 8. 

By Anton van Dyck, Munich Gallery ; can- 
vas, H. 3 ft. 4in. x2 ft. lin. The Saviour 
on the cross, alone ; the heavens marked by 
the effects of a preternatural eclipse.—Smith, 
iii. 21. 

By Anton van Dyck, Vienna Museum ; can- 
vas, H. 4 ft. 2in.x3 ft. 2in. The Saviour 
expiring on the cross. A solemn and im- 
pressive work.—Smith, iii. 27. 

By Guido Reni, Bologna Gallery ; canvas, 
H. 11 ft. 4in.x7 ft. 4 in. Christ expiring 
on the cross, the foot of which Mary Magda- 
len, kneeling, embraces; at left, the Virgin 
in a blue mantle stands looking upward ; 
at right, St. John Evangelist ; same position. 
Painted for the church of the Capuchins, 
near Bologna. One of Guido’s best pictures. 
Engraved by Giovannini. Pinac. di Bologna, 
Pl. 60; Ch. Blane, Ecole bolonaise.—Lavice, 
13 ; Felsina Pittrice, ii. 22. 

By Guido Reni, Modena Gallery ; Christ 
on the cross alone, with drapery agitated by 
the storm, indicated by the dark sky.—Kug- 
ler (Eastlake), 11. 580. 

By Pietro Perugino, Convent of S. M. Mag- 
dalena de’ Pazzi, Florence ; fresco. Near the 
cross, the Madonna and the Magdalen ; at 
sides, SS. Bernard, John, and Benedict, un- 
der three round arches. One of the master’s 
very finest works and in excellent preserva- 
tion.—Burckhardt, 570; Rio, i. 247. 

By Rubens, Antwerp Museum ; canvas, H. 
6 ft. 1llin.x4ft. lin. Christ just expiring; 
Jerusalem faintly seen through the gloom. 
Presented by Cornelius de Winter to Ch. 
of the Recollects, Antwerp. Several repeti- 
tions. Engraved by Snyers; Bolswert.— 
Similar subject in Munich Gallery; en- 
eraved by Bolswert.—Smith, 11. 25, 69. 

By Tintoretto, Turin Gallery ; canvas, H. 
4 ft.x 5 ft. 10 in. Christ, seen to hips, on 
the cross, with the Dove and the Father 
above his head, and many angels around. 
Engraved by Ferreri.—Gall. di Torino, iii. 
st isa Bf 


284 


CHRIST 


By Velasquez, Madrid Museum ; canvas, 
H. 8 ft. x5 ft. 6 in. The Saviour fastened 
to the cross, his head falling towards his 
right shoulder, and the hair falling so as to 
cover half the face; trilingual inscription 
above ; dark background. Painted in 1638 
for Convent of S. Placido; came into pos- 
session of Countess of Chinchon, who sent 
it to Paris for sale in 1826; on her death 
fell to Duke of 8. Fernando, who presented 
it in 1829 to Ferdinand VIL Old copy in 
Capuchin church, Madrid; modern one by 
Pairon in Ecole des Beaux Arts, Paris. En- 
graved by Murgnia; J. A. S. Carmona; J. 
Ballester ; Allegre y Gorriz, and others.— 
Madrazo, 593 ; Quilliet ; Curtis, 7; Jameson, 
Hist. Our Lord, ii. 205. 

CHRIST, DEAD, Annibale Carracci, 
Louvre ; canvas, H. 8 ft. 10 in. x5 ft. 11 in. 
The body of Christ on a winding-sheet, the 
head on the Virgin’s knees ; near her is the 
Magdalen, leaning against sepulchre; at left, 
St. Francis, kneeling, with hands crossed, 
looking upon the body, over which two boy 
angels are weeping. Painted for S. Frances- 
co a Ripa, Rome; one of Annibale’s last 
works. Extremely well composed. Engraved 
by Godefroi ; Aquila.—Villot, Louvre ; Mu- 
sée frangais, 1; Filhol, iii. Pl. 181; Landon, 
Musée, xi. Pl. 28. 

CHRIST AND DISCIPLES’ FEET, Gi- 
otto, S. M. dell’ Arena, Padua; fresco on 
wall. Christ, on one knee, with a vase of 
water before him, is about to lave one of 
Peter’s feet, which he holds in his left hand; 
behind him, St. John and another disciple, 
standing, the former carrying a water pitcher; 
the other disciples sitting, Judas, at left, tying 
his sandal.—Jameson, Hist. Our Lord, ii. 15. 

By Tintoretto, S. Moise, Venice. Christ 
washing the feet of Peter, at the top ofa 
circle of steps, on which the other apostles 
kneel. Much faded and injured.—Ruskin, 
Stones of Venice, iii. 815 ; Zanotto, 167. 

CHRIST AMONG THE DOCTORS, Mi- 
chelangelo da Caravaggio, Uffizi, Florence. 
Half-length figures. Engraved by Dennel ; 
T. Verkruys.— Wicar. 


By Albrecht Direr,. Palazzo Barberini, 
Rome ; dated 1506. Seven figures, life size, 
half length. Christ, surrounded by six doc- 
tors, engaged in discussion. Especially 
noticeable for the contrast in the faces and 
the varied play of the hands, which seem 
almost to speak. Study for head of Christ 
in Albertina Collection, Vienna; and for 
hands in Hausmann Collection, Brunswick. 
This picture was painted in five days. Thaus- 
ing, i. 349 ; Ephrussi, 118. 

By Holman Hunt. See Saviour in the 
Temple. 

By Spagnoletto, Vienna Museum ; canvas, 
H. 4 ft. lin. x 5 ft. 6 in. Half-leneth fig- 
ures. Christ, with left hand on the arm of 
a seat, from which he has just risen, is rais- 
ing his right hand as if speaking ; the doc- 
tors, puzzled at his words, are consulting 
their books.— Jameson, Hist. Our Lord, i. 
279; Rosini, vi. 158. 

By Paolo Veronese, Madrid Museum ; can- 
vas, H. 7 ft. 9in.x14 ft. Christ disputing 
with the doctors in a sumptuous temple of 
Renaissance architecture; in background, 
the Virgin and Joseph, with many specta- 
tors. Collection of Charles 1.—Cat. Museo 
del Prado. 

By school of Leonardo da Vinci, National 
Gallery, London; wood, H. 2 ft. 4 in. x 2 ft. 


of Leonardo da Vinci, 
National Gallery, London. 


10 in. Christ surrounded by four doctors, 
half lengths. From collection of Mr. Hol- 
well Carr; previously in Aldobrandini Gal- 


285 


CHRIST 


lery, Rome, where it was attributed to Leo- 
nardo da Vinci. Probably by Bernardino 
Luini.—Waagen, Treasures, 1. 319. 

Subject treated also by Giovacchino As- 
sereto, Liverpool Gallery; Bernardino Luini, 
National Gallery, London, Church at Saron- 
no (fresco); Lodovico Mazzolino, Palazzo 


11 in. x2 ft. 5in. Christ, half length, bless. 
ing the bread and wine. From Casa Rumieri, 
Venice. Copy in Louvre by Agnese Dolci. 
Engraved by F. Basan.—Gal. Roy. de 
Dresde, i. Pl. 41. 

CHRIST AT EMMAUS. See Supper at 
Emmaus. 


CHRIST, ENTOMB- 


MENT OF. See Entomb- 


ment. 


CHRIST, ENTRY INTO 


a J tui Ud uu uu i 
ie 
24 ————— lI BS | Tee: 
not NEE 
am 


LL 
7 maT 


; Se 
4 wes 
Bee 
if \ xs 
A) = re f 
(d ay) 
a WF i 
~ é Noh 
YER bee 
pee 2 
yr ; 
fff’ 
y i ) 
Z il Y ff 
I] n 
HH b 
Z | 
kn 5 LOIRE 
i #4 | 
il 
i 
WHI 


JERUSALEM OF, Johann 
Friedrich Overbeck, Ma- 


vas, H. 6 ft. x 8 ft.; signed, 
dated 1824. Christ, riding 
an ass, with his right hand 
raised in benediction, is 
passing through the gates 
attended by a numerous 
concourse of people—men, 
women, and children— 


ing ; in foreground a man 
spreads his garment before 
the ass. Begun in Vienna 
in 1809, finished in Rome 
in 1824.—Atkinson, 16. 
Subject treated also by 
i Giotto, Arena, Padua; 
Vassilacchi, Church of Be- 
nedictines, Perugia ; Giov. 
Ant. Fassolo, Dresden Gal- 
lery ; Pasignano, Pal. Cap- 
poni, Florence ; Sebastian 
del Piombo; Nicolas Pous- 


ai 


sin; Charles Lebrun, 


Christ and Evangelists, Fra Bartolommeo, Palazzo Pitti, Florence. 


Borghese, Rome, Berlin Museum ; Leonard 
Bramer, Brunswick Gallery; Charles Adolphe 
Bonnegrace, Toulon Museum ; Pinturicchio, 
S. M. Maggiore (fresco), Spello ; Rembrandt, 
Munich Gallery ; Gaudenzio Ferrari, 8. M. 
delle Grazie, Milan; Ernest Zimmerman, 
(1879). 

CHRIST AND THE ELEMENTS, Carlo 
Doici, Dresden Gallery ; canvas, H. 2 ft. 


Louvre; Charles Miller 
(Salon, 1844); Edouard 
Dubufe, (Salon, 1845); J. F. Bremond, 
Church of La Villette, Paris; Hippolyte 
Flandrin, St. Germain des Prés, Paris. 
CHRIST AND EVANGELISTS, Fra Bar- 
tolommeo, Palazzo Pitti, Florence; wood, 


'tranferred to canyas, H. 9 ft. 2 in. x 6 ft. 6 


in.; signed, dated 1516. The Saviour, partly 
draped, standing on a pedestal in front of a 
niche, holds the sceptre in his left hand 


286 


rien Kirche, Lubeck ; can-. 


bearing palms and sing- ~ 


| 


CHRIST 


while his right is raised in benediction ; on 
sides, SS. Mark and John, SS. Matthew and 
Luke. Below, two little angels seated on 
step holding symbol of the earth. The 
Prophets Jacob and Isaiah, now in the Trib- 
une of the Uffizi, were painted on the wings 
of this altarpiece. Painted for Salvadore 
Billi, who placed it in SS. Annunziata de’ 
Servi; bought by Carlo de’ Medici in 1618 
for his private chapel, a copy by Jacopo da 
Empoli being placed in the church in its 
stead ; on the death of the Cardinal (1663) 
removed to Palazzo Pitti; carried to Paris 
in 1799; returned in 1814. Engraved by 
G. B. Gatti.—Vasari, ed. Mil., iv. 190; C. & 
C., Italy, iii. 466; Marchese, ii. 123, 145 ; 
Landon, Musée, 2d Col.,i. Pl. 1; Gal. du 
Pal. Pitti, i. Pl. 31; Ch. Blane, Ecole floren- 
tine. 

CHRIST, FLAGELLATION OF. 
Flagellation. 

CHRIST AFTER FLAGELLATION, 
Velasquez, Sir John Savile Lumley, H. B. M. 
Minister at Brussels; three figures, full 
length, life size. Christ seated on ground 
with wrists attached by a long cord to a 
column on left; a ray of light proceeds from 
his head to the heart of a child who, attend- 
ed by an angel kneels behind him ; instru- 
ments of the Passion on the ground. Pur- 
chased in Madrid, carried to England about 
1860.—Curtis, 7. 

CHRIST IN THE GARDEN, Marco Ba- 
saiti, Venice Academy ; wood, H. 7 ft. 3 in. 
x 2 ft.; signed, dated 1510. Christ, kneeling 
on a hillock, at the foot of which the apostles 
are sleeping, receives the chalice from an 
angel ; foreground, a portico, at the sides of 
which stand SS. Louis, Francis, Mark, and 
Dominic. Painted for 8S. Giobbe, Venice. 
A very noble picture.—C. & C., N. Italy, 1 
263. 

By Correggio, Apsley House, England ; 
wood, H. 1 ft. 2 in. x1 ft.4 in. Jesus kneel- 
ing in the foreground, with an angel hover- 
ing over him; the sleeping disciples and 
Judas with soldiers in background. Painted 
probably about 1525; formerly in Royal 


See 


Palace, Madrid ; taken from carriage of Jo- 
seph Bonaparte at battle of Vittoria; restored 
by Duke of Wellington to Ferdinand VIL, 
who sent it back to him asa present. Copies 
in National Gallery, London ; Uffizi, Flor- 
ence; Madrid Museum ; and in Hermitage, 
St. Petersburg. Engraved by Volpato, Cur- 
tius and others. Waagen considers this the 
most beautiful known representation of the | 
subject.—Meyer, Correggio, 333,486; Kiinst. 
Lex., i. 486; Waagen, Treasures, ii. 275 ; 
Landon, Cuvres, viii. Pl. 12; Kugler (Hast- 
lake), 11. 505. 

By Carlo Dolci, Palazzo Pitti, Florence ; 
wood, H. 2 ft. 3 in. x 1 ft. 8in. Christ kneel- 
ing, with arms folded and head inclined ; 
above, an angel, with cross and chalice. 
Painted for Francesco Quaratesi, Florence, 
from whose heirs passed to Pitti ; carried to . 
Paris in 1799; returned in 1815. Engraved 
by I. Bonajuti, J. Felsing. — Gal. du Pal. 
Pitti, i. Pl. 833; Landon, Musée, x. Pl. 11. 

By Garofalo, Ferrara Gallery ; wood, H. 
5 ft. ll in. x4 ft. 2 in. Christ praying on 
a hillock in the garden of Gethsemane, with 
the three apostles sleeping at the foot; in 
background, Judas coming with soldiers. 
Painted for the church of the suppressed 
convent of S. Silvestro, Ferrara.—Vasari, ed. 
Mil., vi. 465 ; Cat. Ferrara Gal. 

By Guido Reni, Louvre ; copper, cs Rpm Bs fie 
10 in. x 1 ft. 5 in. Christ kneeling in prayer 
on a rock, while an angel, holding a cross 
and borne on a cloud, presents him the chal- 
ice ; above, other angels with instruments 
of the Passion ; in background, to right, the 
apostles asleep ; in distance, Judas guiding 
the soldiers. Belonged to Cardinal Mazarin; 
after his death given by Duc de Mazarin to 
the Duchesse de Chevreuse, from whom 
bought by Louis XIV. in 1668. Engraved 
by Falck.—Landon, Musée, xii. Pl. 22. 

By Andrea Mantegna, Baring Collection, 
London; signed. Christ kneeling before 
five angels bringing him the symbols of the 
Passion ; apostles asleep in foreground ; in 
middleground, Judas and Roman soldiers 
following him; background, a rocky land- 


287 


CHRIST 


scape with a city. Painted about 1549. 
Formerly in Fesch and Coningham galleries. 
—C. & C., N. Italy, i. 382 ; Waagen, Treas- 
ures, 1. 178. 

By Johann Friedrich Overbeck, Hamburg 
Hospital ; canvas, H. 11 ft. x 7 ft. The Savi- 
our kneeling, his head bowed in anguish, 
his hands raised in ecstasy; below, the three 
disciples lying asleep ; above, in a glory amid 
clouds, an angel bearing the cross.—Atkin- 
son, 63. 

By Pietro Perugino, Florence Academy ; 
wood, H. 4 ft.x4ft.3in. Christ kneeling 
in prayer while an angel brings the cup; the 
three apostles asleep in foreground, and Ju- 
das bringing the soldiers in background. 
Painted in 1495 for the convent of the Ge- 
suiti, Florence, as a companion to the Pietd 
of Florence Academy. Engraved by Chios- 
sone.—Vasari, ed. Mil., iii. 573; C.& C., 
Italy, 11. 199 ; Gall. dell’ Accad. di Firenze, 
Pl. 52. 

By faphael, Stanstead House, Sussex, 
Eng.; wood, H. 2 ft. x 2 ft. 3 in. Christ 
kneels upon a hillock, against which lean 
the three sleeping disciples ; above, at left, 
an angel descending with the cup; in dis- 
tance, at right, Judas with six soldiers ; back- 
ground, a landscape with hills and a town. 
Painted for Duke Guidobaldo of Urbino 
about 1504. Formerly in Palazzo Gabrielli, 
Rome, whence stolen in 1820, and sold for 
40 scudi; but recovered and sold to the 
Woodburns for 4000 scudi; bought from 
Coningham Collection by Mr. Maitland of 
Stanstead House for £787. Engraved by 
L. Grtiner for German edition of Passavant, 
Pl. x.—Vasari, ed. Mil, iv. 323 ; Passavant, 
li. 20; Waagen, Treasures, iii. 4. 

By Tintoretto, Scuola diS. Rocco, Venice ; 
canvas. The most hastily painted of all the 
S. Rocco pictures. Christ represented 
sleeping, the angel with the cup appearing 
to him as a dream; James and John also 
asleep, and Peter wakening and turning his 
head toward Judas approaching with the 
troop.—Ruskin, Stones of Venice, iii. 337. 

By Titian, Escorial, Spain; canvas, fig- 


ures half life-size. Christ, kneeling, looks to 
the left, where an angel is descending, 
while Peter and the sons of Zebedee sleep 
on the grass. Painted in 1562 for Philip 
II. of Spain ; placed in the Sala Prioral of 
the Escorial, where it became nearly ruined 
from neglect. Imitation of similar picture 
by Correggio, now at Apsley House, Eng- 
land.—C. & C., Titian, ii. 320. 

Subject treated also by Giotto, Uffizi, Flor- 


ence ; Gentile da Fabriano, Cluny Museum ; © 


Garofalo, National Gallery, London ; Brusa- 
sorcl, Louvre ; Schidone, Lyons Museum ; 
Daniele Crespi, Berlin Museum ; Annibale 


Carracci, Madrid Museum ; Anton van Dyck, - 


ib.; Chimenti da Empoli, ib.; Juan de Juanes, 
ib.; Fr. Trevisani, Dresden Gallery ; Lan- 
franco, Munich Gallery ; Leandro Bassano, 
Venice Academy ; Jacopo Bassano, ib.; Mu- 
rillo, Louvre ; Memling, Liibeck Cathedral ; 
Wohlgemuth, Munich Gallery ; Lucas Cra- 
nach, Berlin Museum, Vienna Museum; Adri- 
an van der Werf, Munich Gallery; Hans 
Burgkmair, Augsburg Gallery; Eugéne De- 
lacroix (Salon, 1827); Ary Scheffer (Salon, 
1839); Théodore Chassériau (Salon, 1844); 
M. de Rudder (Salon, 1863). 

CHRIST IN GLORY, AND SAINTS, 
Domenico Ghirlandajo, Palazzo Pubblico, 
Volterra. Christ, in a glory of angels, gives 
a blessing from the heavens; below, SS. 
Romualdo and Benedict stand looking up- 
ward, and SS. Attinia and Greciniana kneel 
in ecstasy ; in right corner, a Camaldolen- 
sian monk at prayer. Painted about 1486 
by order of Lorenzo de’ Medici for the 
Badia or Abbey of 8. Giusto, Volterra. In- 
jured by restoring in oil. Engraved (1583) 
by Diana Ghisi.—Vasari, ed. Mil., iii. 273 ; 
C. & C., Italy, ii. 487. 

CHRIST THE GOOD SHEPHERD, 
Murillo, Baron Rothschild, Gunnersbury, 
near London ; canvas, H. 5 ft. 5 in. x8 ft. 6 
in. The Saviour, about six years old, wear- 
ing a sheepskin garment, standing, with a 
crook in his hand, looking up ; on his right, 
a sheep lying down; on -his left, two 
sheep standing, his hand on the head of 


288 


CHRIST 


one ; background, landscape. Painted about 
1665-70 ; sold, with its companion St. John 
and the Lamb (National Gallery, London), 
at Comte de la Guiche sale (1771), 12,999 
livres ; Marquis de Presle sale (1779); Ro- 
bit sale (1801), to Sir Simon Clarke, £4,200 ; 
Sir Simon Clarke sale (1840), the St. John 
was bought for £2,100 by Lord Ashburton, 
who gave it to the National Gallery, the 
Good Shepherd for £3,045 by Baron Roths- 
child. Engraved by Cooper, Mlle. Duclos, 
J. Heath, J. C. Armytage, C. Virten, R. 
Graves, and others. Repetition: Earl of 
Wemyss, Gosford Hall, 
East Lothian, Perthshire. 
Copy by Grimoux, Duch- 
ess of Bridgewater (?).— 
Curtis, 185. 

By Murillo, Comte Hen- 
ri de Greffuhle, Paris ; can- 
vas, H. 1 ft. 11 in. x1 ft. 
4 in. The Saviour, a crook 
in his left hand, walking 
front, resting his hand on 
the head of one of two 
sheep on his right; on his 
left, another sheep run- 
ning; background, land- 
scape. Presented by 
Queen Isabella to M. Gui- 
zot for bringing about the 
marriage of her sister to 
the Duc de Montpensier ; sold in 1874 for 
120,000 fr.—Curtis, 186. 

By Murillo, Madrid Museum ; canvas, AE i 
4 ft. x3 ft. 3 in. The Saviour, about seven 
years old, wearing a red tunic and a sheep- 
skin garment, with crook in hand, seated, 
his left hand on the back of a lamb; be- 
hind him, a rock, a broken cornice, and a 
fluted column. From Isabel Farnese Col- 
lection. Repetition: Don Manuel Lopez 
Cepero, Seville. Etched by Waltner ; litho- 
graphed by J. Abrial, A. Lemoine, Lafosse. 
—Curtis, 186; Gaz. des B. Arts, Feb., 
1875. Madrazo, 473. 

CHRIST IN HOUSE OF JAIRUS, 
Paolo Veronese, Vienna Museum; canvas, 


H. 3 ft. 2 in. x 4 ft. 3 in. Christ, on the 
steps of the house of Jairus, has his robe 
touched by a woman, who, when he turns 
toward her, falls on her knees; she is sup- 
ported by two women; behind them are 
several sick and lame persons, and behind 
Christ are several disciples.—Gal. de Vi- 
enne, i. Pl. 44. 


CHRIST IN HOUSE OF HIS PAR- 
ENTS, John Everett Millais, Frederick 
Arthur Beer, London ; canvas. Sometimes 


called the Carpenter’s Shop; represents 
Joseph in his shop working with another 


V | 
a \\) ‘ 
| (i 
\ V4 - S 
a LS 
, - SS 
C WG 
TA t 
= s'\\ i 
‘ 
\ i 
\} 
\ 
\ 


Christ in House of Jairus, Paolo Veronese, Vienna Museum, 


half-clad carpenter; in foreground, Jesus 
shows to his mother, who kneels to kiss 
him, a wound in his hand, made by a nail 
which Elizabeth, who stands in background, 
reaches forward to pull out with a pair of 
pincers; at right, the infant John, with 
water in a bowl; in background, left, sheep 
look in at open door. Painted in 1849; ex- 
hibited at Royal Academy, 1850, under fol- 
lowing title: ‘‘And one shall say unto him, 
What are these wounds in thine hands? 
Then he shall answer, Those with which 1] 
was wounded in the house of my friends.” 
(Zech. xiii. 6.) Engraved by Thos. Brown, 
in Art Journal.—Art Journal (1850), 175 ; 
(1883), 92. 


289 


CHRIST 


CHRIST, INFANT, Murillo, Matthias 
H. Arnot, Elmira, N. Y.; canvas, H. 2 ft. 1 
in. x 1 ft. 8 in. Infant Christ, sleeping, 
holding a crook, with a skull and a scroll ; 
in background, angels guarding sheep. 
Duke of Hamilton sale (1882), £2,415. In- 
correctly called St. John Baptist by Waagen. 
—Waagen, Treasures, iii. 301; Curtis, 248. 

CHRIST GIVING KEYS TO PETER, 
Guido Reni, Louvre ; canvas, H. 11 ft. 3 in. 
x10 ft. 2in. At left, surrounded by Apos- 
tles, Christ gives keys of Church to the 
kneeling Peter. In Guido’s second manner. 
From Musée Napoléon.— Landon, Vies, 
xxi. Pl. 10, 

CHRIST AND THE MAGDALEN. See 
Noli me tangere. 

CHRIST AND THE MAGDALEN, Rem- 
brandt, Buckingham Palace; wood, H. 2 
ft. x1 ft. 8 in; signed, dated 1638. Christ, 
as a gardener, in a white robe and straw 
hat, with a spade in his hand, is worshipped 
by Mary Magdalen, at dawn of morning ; 
in background, the entrance to the sepul- 
chre, in which two angels are seen ; in dis- 
tance, two disciples approaching. Pur- 
chased (1736) by Elector of Hesse Cassel of 
Mad. de Reuver ; taken in 1806 to Malmai- 
son ; at M. sale (1816) taken to England, 
where bought by George IV.—Waagen, Art 
Treasures, ii. 5; Smith, vii. 44. 

Subject treated also by Lorenzo di Credi, 
Uffizi, Florence ; Agnolo Bronzino, Louvre ; 
Fr. Albani, ib.; Simone Cantarini, Munich 
Gallery ; Onorio Marinari, 8. M. Mag¢viore, 
Florence ; Lavinia Fontana, Uffizi, ib.; Ciro 
Ferri, Vienna Museum ; Fr. Bassano, Dres- 
den Gallery ; Aug. Braun, ib.; Jan van Ma- 
buse, Brussels Museum ; Mariotto Alberti- 
nelli, Louvre ; Eustace Lesueur, ib. 

CHRIST AND THE MARYS, Andrea 
Mantegna, Brera, Milan ; wood, tempera, H. 
2 ft. 2 in. x2 ft. 8 in. The dead Christ be- 
wailed by the Marys. Painted before 1474. 
Long in Palazzo Gonzaga, Mantua, whence 
carried off in 1630 by Bishop of Mantua ; in 
Cardinal Mazarin’s palace in Rome in 1696; 
bought, beginning of this century, by Giu- 


seppe Bossi and taken to Milan. It is in 
Mantegna’s grandest style.—C. & Can. 
Italy, i. 394. 

CHRIST AND THE MONEY CHAN. 
GERS, Jakob Jordaens, Louvre, Paris; canvas, 
H. 9 ft. 6 in.x14 ft. 4in. At right, Christ 
armed with a scourge ; in centre, a confused 
group, among which are an ass, a dog bark- 
ing, a sheep, a young man with his bench 
overturned, and a woman suckling her 
child ; at left, a negro holding an ass and 
an old woman putting birds into a cage ; 
in background, publicans and other figures. 
—Villot, Cat. Louvre. 

Subject treated also by Francesco Bassa- 
no, Dresden Museum ; Jacopo Bassano, 
National Gallery, London, Madrid Museum ; 
Peter Bassin, St. Petersburg Academy. 

CHRIST HEALING THE PARALYTIO, 
or Christ at Pool of Bethesda, Anton van 


Ft 


S ‘ a) ~ 
— Sue ———~ a 
soa } Meee 
ea eed 
fever aa eee, 1 


Christ Healing the Paralytic, Murillo, Orwell Park, 


Dyck, Buckingham Palace ; canvas, H. 3 ft. 
10 in.x4 ft. 9 in. Five figures, life-size, 
seen to knees. The paralytic, restored, is 
bending in adoration before Christ, in cen- 
tre of the group ; on his left, John ; on his 
right, two other disciples. Long attributed 
to Rubens, and sold as his work for 3,700 
florins at Brussels in 1758; Verhulst sale 
(1779), under Van Dyck’s name, 4,777 fL: 
Panvels sale (1803), 11,666 fl; Van Alpen 
sale (1810), 19,200 f1.; La Fontaine sale 


290 


CHRIST 


(1811), £3,300. Copy in Munich Gallery. 
Engraved by P. de Jode; C. de Méchel.— 
Smith, iii. 21, 70; Guiffrey; Gal. de Diissel- 
dorf. 

By Murillo, Geo. Tomline, Orwell Park, 
Suffolk ; canvas, H. 7 ft. 8 in.x8 ft. 5 in. 
Christ, standing in centre, with three dis- 
ciples on his right, puts forth his hand to 
raise the paralytic, who, stretched on the 
ground, with a crutch, a jar, and a dish be- 
side him, implores his aid ; on right, a dog 
approaches the pool; in middle distance, 
many figures grouped in porch of a temple ; 
above, the angel ascending. Companion to 
Prodigal Son’s Return, Stafford House. 
Painted in 1670-74 for Hospital of La Car- 
idad ; carried off by Marshal Soult ; sold to 
Mr. Tomline (1846), 160,000fr. Engraved 
by T. Vernon. Considered by Waagen to 
be the “finest Murillo in England.”—Cur- 
tis, 192 ; C. Bermudez, Carta, 74; Stirling, 
ii. 852 ; Waagen, iii. 440. 

CHRIST SHOWN TO THE PEOPLE. 
See Hcece Homo. 

CHRIST AND THE PHARISEES. See 
Tribute Money. 

CHRIST BEFORE PILATE, Gerard 
Honthorst, Stafford House, London. Christ 
with hands bound, standing at right in an 
interior, is interrogated by Pilate, who is 
seated behind a table, on which are books, 
an inkstand, and a candle, the light of which 
illumines the faces of both ; in background, 
right, several soldiers ; left, two attendants. 
Painted at Rome for Prince Giustiniani.— 
Ch. Blane, Ecole hollandaise. 

By Mihail Munkacsy, Paris. Christ stand- 
ing before Pilate, who is seated at right upon 
a dais, in a vaulted chamber, into which the 
rabble are pressing with threatening cries 
and gestures; a Roman soldier is keeping 
them back from the Saviour with his spear ; 
near Pilate, who appears much perplexed, 
are several Rabbis. Engraved by A. Mon- 
gin. Etched (1883) by C. Waltner.—Acad., 
May 6, 1882, 328; Gaz. des B. Arts (1881), 
xxiv. 139. 

By Tintoretto, Scuola di 8. Rocco, Venice ; 


canvas. A very interesting picture, best 
seen on a dark day, when the white figure of 
Christ looks almost like a spirit ; the Pilate 
is very mean, perhaps intentionally, and the 
passionate action of the scribe in lifting his 
hand to dip the pen into the ink-horn is af- 
fected and overstrained.—Ruskin, Stones of 
Venice, ili. 352. 

Subject treated also by Michael Wohlge- 
muth, Liverpool Gallery ; Benedetto Cagli- 
ari, Venice Academy; Luigi Benfatto, S. 
Luca, Venice. 

CHRIST AT POOL OF BETHESDA.— 
See Ohrist Healing the Paralytic. 

CHRIST, RESURRECTION OF. See 
Resurrection. 

CHRIST AND ST. JOHN, Murillo, Ma- 
drid Museum ; canvas, H. 3 ft. 5 in. x4 ft. 
The Infant Jesus, standing on left, gives 
water in a shell to St. John, who kneels, 
holding a cross in his left hand ; on left, a 
lamb lying; above, three cherubs ; back- 
ground, landscape. From Isabel Farnese 
Collection. Engraved by Ledoux; litho- 
eraphed by V. Camaron, Lafosse, Mlle. As- 
selinau. Sometimes called Los Minos de la 
Concha (Children of the Shell).—Dohme ; 
Curtis, 188 ; Madrazo, 473. 

CHRIST WITH SAINTS, Tintoretto, 8. 
M. Zobenigo, Venice ; canvas, H. about 10 
ft.x 8 ft. Christ descending from clouds 
between SS. Justina and Augustine, who 
are kneeling on the sea-shore. Displays 
little power except in general harmony of 
colours.—Ruskin, Stones of Venice, iii. 362 ; 
Zanotto, 174. 

CHRIST AND SAMARITAN WOMAN, 
Guido Reni, Louvre ; canvas, H. 1 ft. 11 in. 
x2 ft. 8in. The woman of Samaria, stand- 
ing at right, with a vase or pitcher in her 
hand, listens to Christ, who sits leaning on 
the curbstone of the well; in distance, city 
of Samaria. Collection of Louis XIV. En- 
eraved by L. Fabri.—Musée Royal, i; Fil- 
hol, i. Pl. 3; Landon, Musée, ii. Pl. 16; 
Ch. Blanc, Ecole bolonaise. 

Subject treated also by Annibale Carracci, 
Brera, Milan ; Guido Reni, Louvre ; Lorenzo 


291 


CHRIST 


Lippi, Vienna Museum ; Biliverti, ib.; Paolo 
Veronese, ib.; Annibale Carracci, ib.; Phi- 
lippe de Champagne, Caen Museum ; also by 
Bonifazio, Noel Coypel, Gaspard de Crayer, 
Garofalo, G. Gimignani, Ulrich Mayer, Nic- 
olas Poussin, Bernardo Strozzi, Federigo 
Zucchero, Alphonse Perin (Salon, 1827), 
Charles Chasselat (Salon, 1838), Jules Jolli- 
vet (Salon, 1839), J. Bellel (Salon, 1841), 
Auguste Leloir (Salon, 1844), C. de Baltha- 
sar (Exposition Universelle, 1855), W. Cooper 
(Exposition Universelle, 1855), Théodore 
Maillot (Salon, 1863). 


he healed them.” (Matt. xxi. 14.) Christ 
standing, with bis disciples and many Jews 
behind him; in foreground, the sick being 
brought in to be cured. Painted for the 
Friends’ Hospital in Philadelphia, but sold 
for 3,000 guineas to the Directors of the 
British Institute, who presented it (1826) to 
the National Gallery. West sent a copy to 
Philadelphia. Engraved by C. Heath; in 
small by T. Phillibrown for Jones’s National 
Gallery.—Cat. Nat. Gal. 

CHRIST IN THE TEMPLE. See Christ 
among the Doctors. ; 


Christ Healing the Sick, Benjamin West, National Gallery, London. 


CHRIST, SEPARATION OF, Paolo Vero- 
nese, Pitti, Florence ; canvas, H. 3 ft. x 2 ft. 
2in. Christ taking leave of his mother before 
the Passion, in the presence of the Magdalene 
and Martha. The wife of Zebedee stands at 
top of the steps leading into the palace, in 
front of which the Virgin sits. Engraved by 
Lasinio.—Gal. du Pal. Pitti, ii. Pl. 26. 

CHRIST HEALING THE SICK, Benja- 
min West, National Gallery, London ; can- 
vas, H. 9 ft.x14 ft. ‘And the blind and 
the lame came to him in the temple, and 


CHRIST CLEARING THE TEMPLE. 
See Christ and the Money Changers. 

CHRIST, TEMPTATION OF, Tintoretto, 
Scuola di 8S. Rocco, Venice ; canvas. Christ 
and Satan on the mountain. The picture 
owes great part of its effect to the lustre of 
the jewels in the armlet of the latter, and 
to the beautiful colours of his wings.—Rus- 
kin, Stones of Venice, iii. 341. 

Subject treated also by Sandro Botticelli, 
Sistine Chapel; Perugino, Sala del Incen- 
dio, Vatican ; J. Konig, Pommersfelden Gal- 


292 


CHRIST 


lery ; Jan Brueghel; Gerard de Lairesse ; 
M. T. Schmidt (1760) ; Martin de Vos; Ary 
Scheffer; Edouard Bertin (Salon, 1841) ; Fe- 
' lix de Boischevalier (Salon, 1844); C. T. 
Lecomte (Salon, 1861). 

CHRIST CROWNED WITH THORNS, 
Michelangelo da Caravaggio, Hermitage, St. 
Petersburg. Two figures half-length. Christ 
seated, crowned with thorns, and holding 
a reed in his bound hands; behind him an 
executioner, who opens his mouth as if cry- 
ing out. Lithographed by H. Robillard.— 
Gal. Imp. de Hermitage, 1845. 

By Lodovico Carracci, Bologna Gallery ; 
canvas, H. 8 ft. 7in.x 4 ft. 2 in. Christ 
seated in a dungeon, his hands bound be- 


ENN [4 


Christ Crowned with Thorns, Anton van Dyck, Berlin Museum, 


fore him, with three executioners pressing 
the crown of thorns upon his head ; in back- 
ground, two soldiers and a priest. Painted 
for Church of the Certosa, Bologna. En- 
graved by I. Trabalesi; G. Tomba.—Pinac. 
di Bologna, Pl. 66. 

By Anton van Dyck, Berlin Museum ; can- 
vas, H. 8 ft. 6 in. x6 ft. 7in. The Saviour, 
with hands bound, seated in a prison, sur- 


rounded by seven men, one of whom is 
presenting him a reed, while another fixes 
a crown of thorns upon his head. Carried 
to Paris, and restored in 1815. Engraved 
by Bolswert ; J. Falck; Cl. Drevet ; Campi- 
on; lithographed by Regnier (1840). Copy 
in Madrid Museum.—Smith, i. 36; Guif- 
frey. 

By Guercino, Munich Gallery; canvas, H. 
3 ft. Tin.x4ft.9in. Figures half-length; 
Christ, with hands bound, holding the reed; 
at right, a soldier in armour, pressing the 
crown upon his head; at left, a priest. 
Lithographed by F. Piloty.—Pinac. Miin- 
chen. 

By Andrea Solario, Liitschena, near Leip- 
sic; canvas on panel, H. 2 ft. 43 in. x1 ft. 
8 in.; signed. Christ, with fettered hands, 
arope around the neck, and the crown of 
thorns. Bought from the Friesische Samm- 
lung, Vienna,—C. & C., N. Italy, ii. 57. 

By Titian, Louvre ; wood, H. 10 ft. x 5 ft. 
11 in.; signed. Christ struggling on steps 
of the prison, over gateway of which is a 
bust of Tiberius; his arms, bound at the 
wrists, held by kneeling soldier, while two 
men with long reeds press the crown of 
thorns on his head. Painted about 1553; 
probably taken in 1559 by Orazio Vecelli to 
Milan, where it adorned S. M. delle Grazie 
until removed to France beginning of this 
century. Duplicatein Venice Academy. En- 
graved by L. Scaramuccia ; V. Lefebre ; Re- 
bault.—C. & C., Titian, ii. 264; Filhol, vii. 
Pl. 457; Landon, Musée, iv. Pl. 71; Musée 
francais, 1. 

By Titian, Munich Gallery ; canvas, H. 8 
ft. 7 in.x 5 ft. 7in. Differs in some re- 
spects from the picture in the Louvre, the 
scene being laid in the gloom of a passage, 
lighted by a hanging lamp. Supposed to be 
the picture given about 1571 by Titian to Tin- 
toretto, who preserved it in his studio, and 
sold by Domenico Tintoretto to a foreigner. 
Adaptation of it by Rubens, in Berlin Mu- 
seum, and one by Van Dyck in Madrid Mu- 
seum.—Ridolfi, Maraviglie, i 270; C.& C., 
Titian, i. 399. 


293 


CHRIST : 
Subject treated also by Michelangelo da} CHRIST, TRANSFIGURATION OF. See 


Caravaggio, Munich Gallery; Marten van 
Heemskirck, Nuremberg Gallery. 

CHRIST AT THE TOMB, Henri Lévy, 
Paris. The body of Christ lies upon a flat 
stone covered with a black pall, the right 


{| | patriarchs. 
|| by Titian to the church when his nephew 


Transfiguration. 

CHRIST OF THE TRIBUTE MONEY. 
See Tribute Money. | 

CHRIST APPEARING TO VIRGIN, 
Guido Reni, Dresden Gallery; canvas, H. 
11 ft. 6 in. x 8 ft. 1 in. Christ, standing, 
attended by an angel, bearing the banner 
of Redemption, and followed by two dis- 
ciples with clasped hands, appears to the 
Virgin, who kneels at left; behind her, in 
background, is St. Charles Borromeo, an 
angel, Adam, and Eve; above, angels with 
palms. From Modena Gallery. Engraved 
by N. Tardieu.—Gal. Roy. de Dresde, 1. Pl. 
22. 7 
By Titian, 8. Maria, Medole; canvas, H. 9 
ft.x6 ft. 6in. Meeting of Mary and Christ 
after the Ascension ; the Virgin, kneeling on 
the clouds, raises her hands in surprise as 
Christ, in grave-clothes, shows her the stig- 
mata; behind him are Adam, Eve, and two 
Painted in 1554, and presented 


became canon ; damaged by its concealment 
in a tomb during French Revolution ; unsuc- 
cessfully restored in 1862.—C. & C., Titian, 


mt | ii. 240. 


Christ Crowned with Thorns, Titian, Louvre. 


arm hanging down, the hand touching a 
copper dish in which are the nails and a 
cloth stained with blood, and beside which 
is the crown of thorns; at the head sits an 
angel, partly covered with violet drapery, 
who holds a trumpet in his right and raises 
with his left hand the pall; at the foot, a 
second angel, in a purple tunic, is bent in 
grief over the Saviour’s feet. Salon, 1873. 
Etched by Charles Waltner.—Gazette des 
B. Arts (1878), viii. 42 ; Larousse, xvi. (Sup.), 
535. 


CHRISTENSEN, GODFRED, born in 
Copenhagen, July 23, 1845. Landscape 
painter; pupil of Copenhagen Academy 
under Kiaerschou, where he won prizes 
in 1865 and 1871, went in 1873 to Paris, 
where he was much influenced by the col- 
ouris. Member of Copenhagen Academy in 
1881. Works: Beech Tree (1865); Zealand 
Landscape (1870); Fenn in North Zealand 
(1871) ; Highway with Willows (1873); Him- 
melbjerget (1880), Copenhagen Gallery.— 
Sigurd Miiller, 61; Weilbach, 111. 

CHRISTIAN MARTYR. See Martyr. 

CHRISTIAN PARNASSUS. See Triumph 
of Religion in Arts. 

CHRISTINA, ST., GLORIFICATION 
OF, Vincenzo Catena, S. M. Mater Domini, 
Venice ; wood, arched at top. Christ, on 
high, gives a blessing to the Saint kneeling 
ona cloud at his feet ; below, in a landscape, 


294 


CHRISTOPHSEN 


St. Christina looking up to heaven, surround- 
ed by angels bearing the instruments of her 
_ martyrdom. A very lovely example of the 
Venetian religious school, but marked by 
want of originality. Painted in 1520 for the 
church where it still hangs.— Ruskin, Stones 
of Venice, iii. 312; C. & C., N. Italy, i. 251; 
Burckhardt, 601. 

CHRISTOPHSEN, PETER. See Cristus, 
Petrus. 

CHRISTUS CONSOLATOR, Ary Schef- 
fer, Fodor Collection, Amsterdam ; canvas, 
H. 6 ft. x8 ft. Illustration of Luke iv. 18. 
Christ seated upon clouds, with his arms 
extended, offers consolation to the poor, the 
blind, the broken-hearted, and those in cap- 
tivity. Salon, 1837; purchased by Duc 
d’Orleans ; his sale (1853), 52,500 fr. to M. 
Fodor. Engraved by Henriquel Dupont.— 
Ch. Blanc, Ecole frangaise ; Gaz. des B. Arts 
(1874), x. 565 ; Larousse, iv. 214. 

CHRISTUS REMUNERATOR, Ary Schef- 
fer. Christ, standing, turned a little toward 
the right, his feet bare, extends his arms 
toward the good and the repentant sinners. 
Painted in 1847. Engraved by A. Blan- 
chard.—Larousse, iv. 214. 

CHRYSEIS, RETURN OF, Claude Lor- 
rain, Louvre, Paris; canvas, H. 3 ft. 11 in. 
x 5 ft. Chryseis, or more properly Asty- 
nome, daughter of Chryses, priest of Apollo, 
had been taken prisoner by Achilles and ad- 
judged to Agamemnon, who was obliged by 
the anger of Apollo to restore her to her 
father. (Homer, Il., i. 10,378). The ship in 
which Ulysses has brought her lies in the 
port ; in foreground, sailors land goods, and 
at left, animals for sacrifice; in second plane, 
left, an Ionic temple, on the peristyle of 
which Chryses, surrounded by attendants, 
is receiving his daughter. Liber Veritatis, 
No. 80. Painted for Prince de Liancourt, 
from whom acquired by Louis XIV. En- 
graved by D. Barriére (1654). — Pattison, 
Claude Lorrain, 59, 241; Villot, Cat. 
Louvre. 

CHRYSOSTOM, ST. JOHN, MAJESTY 
OF, Sebastian del Piombo, S. Giovanni 


Crisostomo, Venice ; canvas, figures life. 
size. The Saint, attended by one of the 
fathers, is seated in front of a palace, cor- 
recting a book of homilies on his knee ; on 
one side SS. Mary Magdalen, Catherine and 
Agnes; on the other, SS. John Baptist and 
Liberale ; background, rich landscape. 
Painted in Venice in 1513 ; ascribed to Gio. 
Bellini by Burckhardt.—C. & C., N. Italy, 
ii. 8312; Rosini, v. 224; Vasari, ed. Mil, 
y. 566 ; Burckhardt, 597 ; Kugler (Eastlake), 
ii. 512. 

CHURCH, FREDERIC EDWIN, born 
at Hartford, Conn., 
May 4, 1826. lLand- 
scape painter; pupil 
of Thomas Cole at 
Catskill, N. Y., where 
his first pictures were 
painted. Elected N.A. 
in 1849, Made sketch- 
ing tours in South 
America in 1853 and 
1857; later, on coast 
of Labrador and in Jamaica, and in 1868 
visited Europe and the Holy Land. Medal, 
2d class, Paris, 1867. Studios in New York 
and in Hudson. Visited Mexico in 1883. 
Works: Andes of Ecuador (1855), William 
H. Osborn, New York; The Great Fall— Niag- 
ara (1857), Corcoran Gallery, Washington ; 
Heart of the Andes (1859), David Dows, 
New York; Icebergs (1861), Sir Edward 
Watkins, London ; Cotopaxi (1862), Lenox 
Library, New York; Chimborazo (1864), 
William H. Osborn, ib.; St. Thomas in the 
Vale—Jamaica (1866), Mrs. Samuel Colt, 
Hartford, Conn.; Niagara (1866), Mrs. A. T. 
Stewart, New York ; Damascus (1869), Will- 
iam Walter Phelps, ib.; Rainy Season in 
the Tropics (1870), Mrs. M. O. Roberts, ib.; 
Jerusalem (1870), T. M. Allyn, Hartford ; 
The Parthenon (1871), M. K. Jesup, New 
York ; El Khasna Petra (1872), Mrs. F. E. 
Church, ib.; Tropical moonlight (1874), 
William H. Osborn, ib.; Adgean Sea (1875), 
William H. Osborn, ib.; Valley of Santa 
Ysabel (1875), John Buckingham, Chicago ; 


295 , 


CHURCH 


El Ayn (The Fountain, 1876) ; Syria by the 
Sea (1876), James F. Joy, Detroit ; Morning 
in the Tropics (1877), William E. Dodge, 
Jr., New York ; The Monastery (1878), Hurl- 
but Collection, Cleveland, O.; Valley of Santa 
Marta (1879), Charles Parsons, St. Louis. 
CHURCH, F. 8., born at Grand Rapids, 
Mich., in 1842. Animal painter; pupil of 
the National Academy and of the Chicago 
Academy. Paints in oil and water-colour, 
and draws in black and white. Elected an 
A.N.A. in 1885. Member of Society of 
American Artists. Studio in New York. 
Works in oil: Mad as March Hares; 
Weirdness ; Solo; Sea Princess; Back from 
the Beach (1879); Muskrat’s Nest (1880); 
Foggy Day (1881) ; Willing Captive (1883). 
Water-Colours: Hard Times; Chilly Day 
(T. B. Clarke, New York); Foraging Party ; 
Elfin Tandem; Phantom; Ostrich Dance ; 
Awkward Squad ; Pandora, King’s Flamin- 
goes (1884); Peacocks in the Snow (1885). 
CIBOT, (FRANCOIS) BARTHELEMY 
(MICHEL EDOUARD), born in Paris, 
Feb. 11, 1799, died there, Jan. 10, 1877. 
French school; genre painter, pupil of 
Guérin, of Picot, and of Ecole des Beaux 
Arts. Painted also historical subjects, 
landscapes, and portraits, and executed fres- 
cos in the Church of St. Leu. Medals: 2d 
class, 1836 ; 1st class, 1843, 1857, and 1863; 
L. of Honour, 1863. Works: Judith, Cam- 
bray Museum; Wounded Mother nurs- 
ing Child, The Sybarites (1827); Christ 
tempted by Satan, Incident in Life of Frede- 
gonda, Louis XV. and Mlle. de Humiéres, 
Amours of the Angels, Chain Gang (1836) ; 
Indiscreet Visit, Diana painted by Jean 
Goujon before Henri IL, Little Conscripts, 
Galileo at Notre Dame, Raphael and Peru- 
gino, Young Married Woman, Regina Cceli 
(1846); Nativity, Charity, Valley of Fonte- 
nay-aux-Roses, Chestnut-Trees of Aulnay, A 
Thicket (1855); Origin of the Sacred Heart, 
St. Luke, Paris; Funeral of Godfrey de 
Bouillon, Victory of Raymond Dupuy, De- 
fence of Beauvais, Versailles Museum ; Park 
at Orsay, Spring-Time, Summer, Environs 


of Sceaux (1857); The Angel can Sleep, The 
Angel Watches, Environs of Sceaux, First 
Days of May (1859) ; Landscape at Aulnay, 
Chartreux Convent at Sceaux (1861); Val- 
ley of the Brevre, Cliffs at Tréport, The 
Sarthe (1863); Whirlpool near Seineport 
(1864), Luxembourg Museum ; Soisy-on-the- 
Ecole (1865), Valley of Sceaux, View near 
Beaulieu (1866); View at Rochefort (1867); 
Gravel-Pit, Environs of Paris (1868); Woods 
of Meudon, Chestnut-trees (1869); Vision of 
Ezekiel, Environs of Sévres (1874).—La- 
rousse ; L’Art (1877), viii. 24. 

CIENNI DA FIRENZE. See Cennini.. 

CIGALEH, LA (The Grasshopper), Jules 
Joseph Lefebvre, D. Catlin, St. Louis ; can- 
vas, H. 8 ft. x3 ft. Illustration of La Fon- 
taine’s fable. Female figure, full length, 
nude, standing, biting her fingers and pout- 
ing as the first breeze of autumn whistles. 
—Art Treasures of America, iii. 55. 

CIGNANI, CARLO, Count, born in Bo- 
logna, May 15, 1628, - 
died at Forli, Sept. 
6, 1719. Bolognese 
school ; of an ancient 
Bolognese family ; 
most noted pupil of 
Albani; afterward 
studied works of Cor- 
reggio and of Anni- 
' bale Carracci. About 
1658 he painted for 
Cardinal Farnese, in the Palazzo Publi- 
co, Bologna, the two frescos representing 
the Entry of Paul IIL. into Bologna, and 
Francis I. of France healing Lepers. His 
most important work was the painting of 
the cupola of the Cathedral at Forli, 
which occupied him nearly twenty years, 
the subject being the Assumption of the 
Virgin. Works: Infant Christ and St. 
John, Mater Dolorosa, Palazzo Corsini, 
Rome ; Charity, Hermitage, St. Peters- 
burg; do., Turin Gallery; Bacchus and 
Erigone, Nero and the Body of his Mother, 
Achilles and Ulysses, Magdalen, Madonna, 
Cassel Gallery ; Chastity of Joseph, Dresden 


296 


CIGNAROLI 


Gallery ; Assumption, Infancy of Jupiter, 
Munich Gallery ; Roman Charity, Madonna, 
Vienna Museum ; Death of Cleopatra, Glas- 
gow Gallery ; Venus and Anchises, Berlin 
Museum ; Adam and Eve, Hague Museum ; 
Joseph and Potiphar’s Wife, Tarquin and 
Lucretia, Holy Family, Copenhagen Gallery ; 
Magdalen, Dulwich Gallery. Cignani was 
made a Count by the Duke of Parma, for 
whom he 
decorated 
a pavilion. 
He was 
the found- 
er of the 
Clemen- 
tine Academy of Bologna. Among his pupils 
were his son, Count Felice Cignani (1660- 


1724), and his nephew, Paolo 

G. CI Cignani (1709-1764).—Mal- 

4 vasia, ii. 198 ; Lanzi, iii. 143; 

Ch. Blanc, Ecole bolonaise; Burckhardt, 
764, 772, 786. 

CIGNAROLI, GIAMBETTINO, born at 
Salo, near Verona, in 1706, died in Verona, 
Dec. 1, 1770. Venetian school; history 
painter, pupil in Venice of Santo Prunato, 
and of Balestra, and studied works of P. Ver- 
onese and Correggio. Lived long in Ven- 
ice ; was one of founders and in 1769 director 
of Verona Academy. Was one of the best 
of modern Venetian painters. Works: 
Death of Rachel, Venice Gallery; replica, 
Lille Museum ; Flight into Egypt, 8. An- 
tonio Abbate, Parma; St. Francis receiving 
Stigmata, Church at Pontremoli; Triumph of 
Pomponius, Verona Museum ; Transfigura- 
tion, Verona Cathedral; Madonna with 
Saints, Vienna Museum; Assumption, Ma- 
drid Museum.—Bevilagna, Memorie della 
Vita di G. C. 

CIGOLI, LUDOVICO CARDI DA, born 
at Cigoli, near Florence, Sept. 21, 1559, 
died in Rome, June 8, 1613. Florentine 
school. Real name Cardi, but commonly 
called after his native village ; pupil of Ales- 
sandro Allori and of Santi di Tito, but 
formed his style chiefly from study of the 


FU 


works of Correggio and Barocci. Some- 
times called the Correggio of Tuscany ; but, 
though some of his works are Correggesque 
in feeling, he is in no wise to be compared 
with that great painter. After executing 
many important works in Florence he went 
to Rome, where he painted (1606) for St. 
Peter’s the Lame Man healed by Peter, no 
longer extant, which Sacchi called the best 
work painted in Rome after Raphael’s 
Transfiguration and Domenichino’s Com- 
munion of St. Jerome. Cigoli, who was a 
good draughtsman and a pleasing colourist, 
delighted in powerful effects of light and 
shade. Some of his best works are: Mar- 
tyrdom of St. Stephen, Uffizi; St. Francis, 
Ecce Homo, Pitti, Florence; Flight into 
Egypt, St. Francis in Contemplation, and a 
portrait, Louvre ; David with Head of Go- 
liath, Tobias, Marriage of St. Catherine, 
Circumcision, Hermitage, St. Petersburg.— 
Ch. Blane, Ecole florentine ; Seguier, 40; 
Burckhardt, 235, 766, 789, 793 ; Baldinucci, 
ii. 230. 

CIMA DA CONEGLIANO, born in Fri- 
uli about 1460 ; 
according to Ri- 
dolfi, lived till 
1517, but the 
latest genuine 
date on his pict- 
ures is 1508. Ve- 
netian school. 
Real name Gio- 
vanni Battista 
da Conegliano ; 
known in his time as I] Conegliano, but in 
and since the 17th century as Cima da C. 
Settled in Venice, where he earned a well- 
deserved celebrity as a composer of sacred 
subjects. His early pictures are in tempera, 
but he soon acquired the use of oils, and 
became one of the best of the Bellinesque 
painters. While taking a place by Giovanni 
Bellini’s side, he shows some peculiarities 
which recall Antonello da Messina; and he 
has been called the Masaccio of the Vene- 
tian school. His favourite theme is the 


297 


CIMABUE 


Madonna with or without saints, to whom 
he gives an air of calm contentment. 
Among his best works are: Madonna and 
Saints (1492), Conegliano Duomo ; Madonna 
with Saints, in the Louvre; Baptism of 
Christ, S. Giovanni, Bragora (1494) ; In- 
credulity of St. Thomas, Madonna with 
Saints, Venice Academy; Madonna with 
Saints (2), Parma Gallery ; St. Mark curing 
Anianus, Berlin Museum ; St. Peter Martyr, 
Brera, Milan. Other examples in the gal- 


IOVANNESBAPTIS TA«CONE:P 


leries of Modena, Munich, ete.—C. & C., N. 
Italy, i. 232; Ch. Blanc, Ecole vénitienne ; 
Vasari, ed. Mil. in. 645, 668 ; Burckhardt, 
82, 500; Liibke, Gesch. ital. Mal., i. 545. 
CIMABUE, GIOVANNI, born in Flor- 
ence in 1240, 
died there 
about 1302. 
Florentine 
school; of a 
Li jo noble Floren- 
ee ees tine family, the 
— ee Cimabui ;_ pu- 
fi," nace ti . pil, according 
(ea yi to Vasari, of 
ee i a Gt “certain Greek 
painters, called 
to Florence by the government to revive 
painting, who worked in the Cappella de’ 
Gondi of S. M. Novella, where Cimabue at- 
tended school. But Florence had painters 
and miniaturists, such as Rustici (1166) 
Marchisello (1191), Fidanza (1224), and 
Bartolommeo (1236), long before Cimabue’s 
birth, and a street called the Via de’ Pittori, 
which proves that the calling of Greek 
painters to restore art was as unnecessary 


,| Liibke, Gesch. ital. Mal., i. 90. 


as it is incredible. Also the chapel in S, M. 
Novella, where they are said to have painted, 
is contemporary with the church. which was 
erected in 1279, when Cimabue was thirty- 
nine years old. Cimabue’s fame is due first 
to his superior gifts, which enabled him to 
begin to cast off the fetters of Byzantinism ; 
second, to the fact that he was the master 
of Giotto; and third, because his name is 


mentioned by Dante. His most certain work. 


is his famous Madonna de’ Rucellai in the 
Capella Rucellai, S. M. Novella, which Charles 
of Anjou is said to have been taken to see 
(1267), and for which the quarter of the 
city where it was painted is said by Vasari 
to have been named the Borgo Allegri, a 
name given before 1301, but whether in 
honour of the picture or not is uncertain. 
The personage in a white and gold costume 
painted by Simone di Martino in the Cap- 
pella dei Spagnuoli, whose head we have 
engraved, though designated by Vasari as 
Cimabue, is probably a French cavalier, 
perhaps the.so-called Duke of Athens, Wal- 
ter de Brienne, whilom tyrant of Flor- 
ence. Among the supposed works of Cima- 
bue are: Madonna with angels, Florence 
Academy ; Crucifix and a Madonna, sacris- 
ty, S. Croce ; Madonna with Angels, National 
Gallery, London; Madonna with Angels, 
Louvre ; mosaic, Saviour enthroned be- 
tween the Virgin and St. John, properly 
called the Majesty, Duomo, Pisa ; frescos, S. 
Francesco, Assisi, on three walls, left tran- 
sept, and in choir, Upper Church ; Evan- 
gelists, central ceiling of transept; Four 
Doctors of the Church, ceiling near portal, 
do.; colossal Madonna with Angels, west 
side over altar of Crucifixion, south transept 
wall, Lower Church.—Vasari, ed. Mil. i. 
247; C. & C., Italy, i, 201; Seguier, 43; 
Burckhardt, 488, 494; Baldinuccei, i. 21; 


CIMABUE’S MADONNA, PROCESSION 
OF, Sir Frederick Leighton, Buckingham 
Palace, London. Cimabue’s famous picture 
of the Madonna de’ Rucellai carried in pro- 
cession through the streets of Florence to S. 


298 


CIMON 


M. Novella. In front of the Madonna walks 
Cimabue, crowned with laurels, with his 
pupil Giotto ; behind it, Arnolfo di Lapo, 
Gaddo Gaddi, Andrea Tafi, Nicolé Pisano, 
Buffalmacco, and Simone Memmi; in the 
corner, Dante. Painted in Rome; R. Acad- 
emy, 1855; purchased by the Queen.— Univ. 
Mag. (1879), iii. 51. 

CIMON, Greek painter, of Cleon, middle 
of 5th century zc. He developed the in- 
ventions of Humarus, and was the first to 
give variety to attitude, to indicate the form 
under drapery, and to draw the eyes cor- 


rectly instead of following the old method, || * 


as the Egyptians did.—Pliny, xxxv. 34 [55]; 
Aelian, viii. 8. 

CINCINNATO, ROMOLO, born in Flor- 
ence in 1502, died about 1600. Florentine 
school; history painter, pupil in Rome of 
Francesco Salviati; invited to Spain by Philip 
I. in 1567; painted there many pictures in 


the other a golden vase; near her, upon a 
table, are a vase and an open book with 
cabalistic characters. In Guercino’s third 
manner. 


Collection of Louis XIV. En- 


SS —— 
SS Foot 


= 7 
wae’ 777 7 wong 


oil and fresco for the Escorial and the Pa- \ se 


lazzo del Pardo. Works: Two pictures with St. 
Jerome reading, St. Jerome preaching, two 
scenes from life of St. Lawrence, Escorial ; 
Circumcision (1572-73), Academy of S. Fer- 
nando, Madrid; Transfiguration, St. Peter, 
St. Paul, St. Lawrence (fresco), Madrid 
Academy ; Mythological subjects at Infan- 
tado Palazzo, Guadalajara. His sons, Diego 
Romolo (died in Rome, 1625), and Francis- 
co Romolo (died in Rome, 1635), were por- 
trait painters.—Cean Bermudez. 

CIONE. See Orcagna. 

CIRCE, Dosso Dossi, Palazzo Borghese, 
Rome. The enchantress, in a purple and 
gold robe, and with a rich turban, seated in 
a forest landscape ; in her right hand she 
holds a tablet with necromantic signs; at 
her feet are a magic circle, a coat of mail, a 
dog, and two birds ; near her, several swine 
bound to a tree ; in distance, three knights 
bivouacking on the grass.—Kugler (East- 
lake), i1. 488. 

By Guercino, Louvre ; canvas, H. 4 ft. x 
3 ft.2 in. Wearing a turban ornamented 
with an aigrette and a diamond clasp on her 
head, she holds in one hand a wand, and in 


Circe, Guercino, Louvre. 


graved by M. Gandolfi.—Musée royal ; Fil- 
hol, ii. 80 ; Landon, Musée, vi. Pl. 56. 

CIRCE AND THE COMPANIONS OF 
ULYSSKS, Briton Riviere, London ; canvas, 
H. 2 ft. x 4 ft. The sorceress, having 
changed the companions of Ulysses into 
swine, sits at left on a raised floor under a 
vine-clad wall, with her wand lying beside 
her, calmly contemplating the pigs wallow- 
ing before her or seeking in vain to reach 
her platform. Painted in 1871. Engraved 
by Stacpoole. 

CIRCUMCISION, Federigo Barocci, 
Louvre ; canvas, H. 12 ft. 2 in. x 8 ft. 3 in.; 
sioned, dated 1580. The Child seated on 
the knees of one of the officers of the temple, 
with priests and assistants standing near ; 
behind, the Virgin and St. Joseph, kneeling ; 
above, two angels in adoration. Painted for 
oratory of the brotherhood of the Nome di 
Dio, Pesaro ; carried to Paris in 1799 ; given 
in 1811 to church of Notre Dame, Paris ; 
placed in Louvre in 1862.—Villot, Louvre. 


299 


CIRCUS 


By Giovanni Bellini, Castle Howard, Eng- 
land ; wood, figures one-third life-size ; sign- 
ed. Simeon stoops over the Child in the 
arms of St. Joseph; the Virgin and a male 
and female saint look on. Painted probably 
before 1486; formerly in Orléans Gallery. 
Copy, probably by Catena, in Leuchtenberg 
Gallery, St. Petersburg ; another by Marco 
Belli in Museum of Rovigo; a third at Gros- 
venor House, London; a fourth in Palazzo 
Doria, Rome, and others in Pavia, Vienna, 
and Venice.—C. & C., N. Italy, 1.148; Meyer, 
Kinst. Lex., i. 416. 

By Luca Signorelli, National Gallery, Lon- 
don; canvas, H. 8 ft. 6 in. x 6 ft.; signed. 
Altarpiece with ten figures, life-size ; in cen- 
tre, before altar apse, the priest, looking up- 
ward. In the angles of the semicircular 
picture are two circles with two prophets. 
“One of the most important pictures by 
this great master.” Hamilton Palace sale 
(1882), £3,150.—Waagen, Art Treasures, ili. 
299 ; Cat. Ham. Pal. sale, 101; Richter, 48 ; 
Art Journal (1883), 43, 177. 

By Tintoretto, S. M. del Carmine, Venice. 
Ruskin calls it a glorious Tintoret. Canotto 
says here Tintoretto imitated Andrea Schia- 
vone. — Ruskin, Stones of Venice, iii. 289 ; 
Zanotto, 435. 

By Tintoretto, Scuola di S. Rocco, Venice. 
The High Priest kneeling with Christ in his 
arms. ‘‘ Next to the Adoration of the Magi, 
this picture is the most laboriously finished 
of the 56 colossal pictures by Tintoretto in 
the Scuola, and it is unquestionably the high- 
est existing type of the sublimity which may 
be thrown into the treatment of accessories 
of dress and decoration.”—Ruskin, Stones 
of Venice, iii. 331. 

Subject treated also by Luca Signorelli, 
Vatican, Rome ; School of Rembrandt, Ber- 
lin Museum ; Willem de Poorter, Cassel Gal- 
lery; Marco Marziale, National Gallery, Lon- 
don; Lodovico Cigoli, Hermitage, St. Peters- 
burg ; Luis de Carbajal, ib. 

CIRCUS MAXIMUS, Jean Léon Géréme, 
Mrs. A. T. Stewart, New York. A chariot 
race in the Circus Maximus, Rome, in the 


later days of the empire. Six or seven four- 
horsechariotsare about toturn oneof the metze 
or goals, behind which, on the spina, is seen 
the obelisk now in the Piazza del Popolo; in 
background, left, the Palace of the Cesars. 
Photogravure in Art Treasures of America. 
—Art. Treas. of Amer., i. 24. 

CIVERCHIO, VINCENZO, called Il For- 
naso, born at Crema before 1470, died after 
1540. Lombard school ; pupil of Foppa, or 
of Bramantino the elder; appears in 1493 
as successor of Foppa, at Brescia, whence 
sometimes called Vincenzo Bresciano. Spent 
four years there in adorning the choir of the 
old cathedral, with now destroyed frescos,and. 
was honoured with citizenship. About 1507 
he returned to Crema, where he painted the 
SS. Sebastian Rocco and Christoforo (1515), 
in the Duomo, and (1526), fresco portraits 
of great citizens in the town-hall. His latest 
authentic picture is the Baptism of Christ, 
dated 1539, in the Tadini collection, Louvre. 


—C. & C., N. Italy, i. 68; Waagen, Treas- 


ures, iii. 200; Ch. Blanc, Ecole milanaise ; 
Burckhardt, 608, 610; Calin, Notizie, ii. 
205. 

CIVETTA. See Biles, Herri de. 

CLAASZ, PIETER (Claesz van Haarlem), 
Dutch school, born at Steinfurt, Westphalia, 
about 1595 (?), died at Haarlem, buried Jan. 
1, 1661. Still-life painter, father of Claas 
Berchem ; first mentioned as settled at Haar- 
lem in 1617, when married. Works: Still- 
life (1644), National Museum, Amsterdam ; 
do. (3), Berlin Museum ; Others in Dresden 
(1624), Munich, Schleissheim, Schwerin, Cas- 
sel, and Bamberg Galleries, Wiirzburg Uni- 
versity, Amalienstift, Dessau; nine (1627— 
53, attributed to Pietro Candido), Palazzo 
Mansi, Lucca; one (1630), Fitzwilliam Mu- 
seum, Cambridge.—Academy (1882), xxii. 
302, 353; Bode, Studien, 224 ; Gaz. des B. 
Arts (1883), xxvii. 183; Zeitschr. f. b. K., 
xvi. 167. 

CLAEKISSEN (Claessens), ANTONY, 
born in Bruges about 1550, died there in 
1613. Flemish school; history painter ; son 
of Pieter the elder, said to be pupil of Quen- 


360 


—— 


CLAEISSEN 


tin Matsys, and one of the most excellent 
artists of that period ; entered Bruges guild 
in 1575, and was its dean in 1586, 1590, and 
1601. Works: Two Scenes in Judgment of 
Cambyses (Bruges Academy, ascribed by 
some to Gherardt David); Banquet of Magis- 
trates (1574), Mars surrounded by Fine Arts 
(1605), both in Town Hall, Bruges; Triptych 
with Adoration of Shepherds, Triptych 
with Descent from Cross (1609), Legends 
from life of St. Bernard (all in Bruges Ca- 
thedral) ; Consecration of Church in Rome, 
Procession of Corpus Christi (1599), Trip- 
tych with Madonna, all in Notre Dame, 
Bruges; Members of Brotherhood of Holy 
Sacrament, St. Jacob’s, Bruges ; Last Sup- 
per (1595), St. Egidius, Bruges.—Allgem. d. 
Biogr., iv. 269; Biog. nat. de Belgique, iv. 
124 ; Michiels, v. 398 ; Nagler, Mon., i. 105, 
119 ; Schnaase, Niederlind. Briefe, 331. 

CLAEISSEN, PIETER, the elder, born 
in Bruges in 1500, died there in 1576. Flem- 
ish school ; history and portrait painter ; pu- 
pil of Adriaan Bekaert ; admitted to guild 
of St. Luke in 1516, master in 1529, dean 
in 1572. Works: Knight kneeling with 
Four Sons, Collection Prince of Orange, 
Brussels; male portrait, Copenhagen Gallery. 
—Allgem. d. Biogr., iv. 269. 

CLAKISSEN, PIETER, the younger, born 
in Bruges about 1545, died there, March 17, 
1612. Flemish school; history painter ; 
brother of Anthony ; entered guild in 1570, 
and was its dean in 1600 and 1606. Works: 
Resurrection (1585), Triptych with Ecce 
Homo (1609), both in Bruges Cathedral ; 
Triptych with Madonna, Moses and Gideon 
(1606-1608), St. Egidius, Bruges; Pacifica- 
tion of Ghent, Bruges Academy ; Portraits 
of Charles V. (1609), and Philip II. (1610), 
Madonna and Almighty with Angels (1608), 
Pottery Hospital, Bruges.—Allgem. d.Biogr., 
iv. 270 ; Biog. nat. de Belgique, iii. 126 ; Mi- 
chiels, v. 402. 

CLAIRIN, GEORGES (JULES VICTOR), 
born in Paris, Sept. 11, 1843. History paint- 
er ; pupil of Picot and Pils, and of the Ecole 
des Beaux Arts, Studio in Paris. Medal 


in 1882. Works: Incident of the Conserip- 
tion of 1813 (1866); Burning Varech in Brit- 
tany, Robbers of Bay of Trépassés in Brit- 
tany (1868); Volunteers of Liberty in Spain 
in 1868 (1869); Massacre of the Abencerrages 
in Grenada, Arab Story-Teller in Tangiers 
(1874); Moses the Sheik’s Son (1878); Enter- 


4, A if “trin. 
1876 


ing the Harem, W. T. Walters, Baltimore ; 
Froufrou, Women burning Varech (1882); 
Moors in Spain after the Victory (1885); por- 
traits of Sarah Bernhard, Mme. Kraus. 

CLARA, ST., Velasquez, Dudley House, 
London ; H. 2 ft. 6 in.x 2 ft. 1 in. Half- 
length, life-size, with a jewelled crown on 
her head, standing with a palm in her right 
hand and a cup and saucer in her left. 
Thought to be a portrait of Francisca, 
daughter of Velasquez, who married J. B. 
del Mazo. Probably picture sold at Sala- 
manca sale (1867) for 38,000 francs—Ch. 
Blanc, Ecole espagnole; Gaz. des B. Arts 
(1879) ; Curtis, 10. 

CLARA, ST., DEATH OF, Murillo, Dud- 
ley House, London ; canvas, H. 5 ft. 3 in. x 
14 ft.4 in. The dying Saint lying on a 
pallet on left, surrounded by monks and 
nuns; the Saviour and the Virgin approach, 
attended by female saints and martyrs in 
white robes, wearing crowns and _ bearing 
palms. Painted in 1645-7, one of eleven 
pictures for Convent of S. Francisco, Se- 
ville ; carried to Paris by Gen. M. de Fav- 
iers and sold to M. Aguado; Aguado sale 
(1865), 75,000 fr.; in Marquis de Salamanca 
sale (1867), 95,000 fr. Copy by Bocanegra 
in Hermitage ; another, varied, D. Roberto 
Kith, Seville.—Curtis, 223; G. de Leon, i. 
59; C. Bermudez, Carta, 46; Stirling, ii. 
834; Gaz. des B. Arts, Jan. 1875; L’Illus- 
tration, March 18, 1855 ; Hermitage Cat., 
138, 


301 


CLASEN 


CLASEN, KARL, born in Diisseldorf in | 
1812. History painter; pupil at Dissel- 
dorf Academy under W. Schadow. Painted 
history, sacred and profane, with a pure 
feeling for nature, and careful execution. 
Works: Flight into Egypt (1839); Rudolph 
of Hapsburg giving his Horse to a Sick 
Priest (1840); Pope Sixtus and Deacon Lau- 
rentius (1842); Daughter of Jairus (1845); 
Discovery of the Springs at Aix-la-Chapelle ; 
Reconciliation of Queen Catharine with 
Cardinal Wolsey (1850); Allegory of Borus- 
sia (1867).—Brockhaus, iv. 437; Miiller, 
106 ; Wiegmann, 178. 

CLASEN, LORENZ, born in Diisseldorf, 
Dec. 14, 1812. History painter; cousin of 
Karl ; pupil of Disseldorf Academy under 
Th. Hildebrandt; painted at first biblical 
scenes, then chiefly subjects from romantic | 
history. In 1850 removed to Berlin, 1854, | 
to Leipsic. Was also a distinguished writer 
on art. Works: Early Christians ; Annun- 
ciation to the Shepherds (1837); David 
playing before Saul, Conversion of Clovis by 
his Wife Clotilda (1839); Minstrels’ Contest 
at the Wartburg; Conrad IL (Kaisersaal, 
Frankfort); Expulsion of St. Elizabeth 
(1840); Madonna (1841); Blessings of Peace 
and Industry, Entry of Happy Rulers (1844); 
Germania on Guard on the Rhine (City 
Hall, Crefeld); Germania on the Sea, Bish- 
‘ops of Cologne and Mentz before Conrad I. 
(1847); Cycle from History of Fam¢lies von 
Brandt and von Watzdorf (1865-66).— 
Brockhaus, iv. 487; Illustr. Zeitg. (1871), 
ii. 175; Miiller, 106; Wiegmann, 204. 

CLAUDE, GEORGES, born in Paris; 
contemporary. Son and pupil of J. M. Claude 
and pupil of P. Galland. Medal, 3d class, 
1884. Portraits (1879, 1882); Adoration of 
the Cross at Mont Cassin (1884). 

CLAUDE, JEAN MAXIME, born in 
Paris, June 24, 1824. Landscape painter, 
and painter of sporting and hunting scenes ; 
pupil of Galland. Medals: 1866 and 1869 ; 


Subiaco. 


2d class, 1872. Works: Rendezvous, Re- 
treat (1861); Halloing at the Ponds of Comi- 
elles, Bloodhounds in their Kennel the Day 


before a Hunt (1863); Huntsman with 
Hound going to Woods (1864); Morning of 
Beginning and Day of Closing the Hunt 
(1866); Corner of the Kennel (1868); Hunt- 
er’s Story (1869); Return from Hunt (1870); 
Antechamber, Souvenir of Rotten Row 
(1872); Returning from Rotten Row (1874); 
Hyde Park (1876); These Gentlemen are 
Served, Conversation in Hyde Park (1877) ; 
Sketch on the Cliff, Albert Gate of Hyde 


Park (1878) ; Confidence (1879); Sit Up- 


right (1881) ; Sunset, Spring-Time (1882) ; 
At the Rendezvous in Fontainebleau (1883). 
CLAUDE LORRAIN, born in Cham- 

| pagne on the Mo- 

selle in 1600, died 
in Rome, Nov. 23, 
1682. Frenchschool; 
landscape painter ; 
real name Gellée; 
pupil in drawing of 
his elder brother 


at Freiburg in Breis- 
gau. Taken to 
Rome in 1613 by a relative, he went 
thence to Naples, where he spent two years 
as pupil of Godfrey Wals, a painter from 
Cologne. From 1619 to April, 1625, he 
lived at Rome, working as apprentice 
and valet to Agostino Tassi, who was em- 
ployed by the Cardinal di Montalto to 
decorate his palace, after which he returned 
to Lorraine by Venice and the Tyrol. At 
Nancy he found employment in decorating 
the Chapelle des Carmes, for Duke Charles 
III, with figures and architectural orna- 
ments, until the middle of the year 1627, 
when he returned to Rome to remain for 
the rest of his life. Here he became inti- 
mate with Sandarrt, Peter de Laar, and 
Poussin, and spent his time in making stud- 
ies in the Campagna, at Tivoli, Frascati, and 
By 1634, Claude had become a 
celebrity at Rome and had painted many 
pictures, although none are known of a date 
earlier than the Village Féte and the Sea 
Port at the Louvre of the year 1639. The 


802 


_ Jean, wood engraver . 


* i oi al lel 


CLAUSEN 


“Liber Veritatis,” a collection of 200 draw- 
ings, owned by the Duke of Devonshire, 
was begun about 1634, and finished March 
25, 1675, as a record of work projected as 
_well as accomplished, and not probably, as 
is generally supposed, to guarantee the 
authenticity of all the pictures which left 
Claude’s studio. In the height of his 
fame, the painter was patronised at Rome 
by the King of Spain and the Elector of 
Bavaria, Prince Doria, the Dukes de Be- 
thune and de Créquy, and many other dis- 
tinguished persons. From the church of 
the Trinita di Monte, where he was buried, 
and where his monument was destroyed by 
the French in 1798, hisremains were removed 
in 1840 to the church of S. Luigi in Fran- 
cesi at the suggestion of M. Thiers. Works: 
Marriage of Jsaac and Rebecca, Temple of 
Delos, and 2 other landscapes, Palazzo 
Doria, Rome; The Setting Sun, Palazzo 
Sciarra, Rome; 2 landscapes, Palazzo Bor- 
ghese, Rome; Landscapes, Naples Muse- 
um; do., Palazzo, Madama, Turin; Hagar 
expelled by Abraham, Hagar in the Desert 
(1668), The Herdsman (1656), Morning 
(1674), Old Pinakothek, Munich; Flight 
into Egypt, Polyphemus (1650), Dresden 
Gallery ; Italian Coast View (1642), Berlin 
Museum; Morning, and 11 other landscapes, 
Hermitage, St. Petersburg ; Magdalen Pray- 
ing, and 9 landscapes, Madrid Museum ; 
Return of Chryseis, Cleopatra landing at 
Tarsus (1647), and 15 other landscapes, Lou- 
vre, Paris ; Marriage of Isaac and Rebecca, 
Cephalus and Procris, Embarkation of Queen 
of Sheba (1648), do. of St: Ursula, Narcissus 
and Echo, and 7 other pictures, National 
Gallery, London; 6 in Dulwich Gallery ; 
Rape of Huropa, Buckingham Palace; 5 
landscapes, Windsor Castle; Enchanted 
Castle, Lord Overstone; Mount Tabor, 
Golden Calf, Grosvenor House; 2 land- 
scapes, Bridgewater House; Temple of 
Apollo, Landing of Aineas, Agnew, London ; 
Apollo and Marsyas, Earl of Leconfield ; 
Birth of Roman Empire, Decline of Roman 
Empire, Longford Castle ; Ulysses and Nau- 


sicaii, M. H. Arnot, Elmira, N. Y.—Pattison, 
Claude Lorrain; Rev. des Deux Mondes, 
Jan. 15, 1884, 365; Sandrart, Academy 
Nob. artis picturse (Nuremberg, 1683). 

CLAUSEN, GEORGE, born in England ; 
contemporary. Landscape and genre painter. 
Exhibits at Royal Academy and Grosvenor 
Gallery. Works: Night brings Rest, A 
Study, Women Washing—Zuyder-Zee (1879); 
La Pensée (1880) ; Haverstock Hull (1881); 
Gleaners (1882) ; Marie, Hay-Time, Winter 
Work (1883); Labourers after Dinner (1884); 
End of a Winter’s Day, Crow Starving 
(1885). 

CLAXTON, MARSHALL, born at-Bolton, 
Lancashire, in 1811, died in London in 1881. 
History painter, pupil of John Jackson, and 
of the Royal Academy; won the first medal in 
painting school in 1834, and gold medal of 
Society of Arts in 1835. He visited Italy in 
1837; won prize of £100 at Westminster 
Hall Exhibition in 1843 for his Alfred the 
Great in Camp of the Danes ; went to Aus- 
tralia in 1850, to India and Egypt in 1855, 
returning with many sketches. Works: 
Christ blessing Little Children, school-room 
at St. Stephens, Westminster ; Spenser read- 
ing the Faerie Queene, Mother of Moses, 
Grandmother, Free Seat, Baroness Burdett- 
Coutts; Christ at Tomb of Lazarus, View of 
Sydney, Last Queen of the Aborigines, Col- 
lection of the Queen; Sir Joshua Reynolds 
and his Friends ; Hagar and Ishmael ; Death- 
bed of John Wesley.—Bryan (Graves). 

CLAYS, PAUL JEAN, born in Bruges in 
1819. Marine painter, pupil in Paris of 
Gaudin ; lives in Brussels. Medals: Brussels, 
1851; 2d class, Paris, 1867, 1878 ; L. of Hon- 
our, 1875 ; Officer, 1881; Order of Leopold. 
Works : After Shipwreck (1852), Ghent Mu- 
seum; Windy Weather, Portuguese Xebec in 
Sight of French Squadron, Entrance of 
Queen Victoria into Port of Ostend, Coast 
Scene in Flanders (1855); Environs of Tré- 
port (1855); Duke of Ostend (1857); The 
Scheldt at Antwerp (1859); Entrance to 
Southampton Water, Calm on the Scheldt 
(1868); Morning Light, Dead Calm, Squall 


303 


CLEANTHES 


on the Scheldt (1874); Thames near London, 
View on the Scheldt (1875); Bruges, North 
Sea (1876); Zuyder-Zee near Texel, Canal 
in Zélande (1877); Canal in the Nieuwe- 
Maas, Saardam (1878); Dutch Vessels in a 
Calm (1863), Dutch Boats in Roads of Flush- 
ing (1870), National Gallery, London; Be- 
calmed near Amsterdam, Rough Sea on Coast 
of Flanders (1884); In Roadstead of Dun- 
kirk, Fog at Dawn (1885).—Gaz. des B: Arts 
(1867), xxiii. 16; L’Art, 1876. 

CLEANTHES, Greek painter, of Corinth, 
early period. According to Pliny (xxxv. 5 
[15]) the invention of line-drawing was as- 
signed both to him and to Philocles the 
Egyptian. The Temple of Artemis Alphx- 
onia, near Olympia, contained his paintings 
of the Iliupersis (taking of Troy) and the 
birth of Athena.—Strabo, vii. 3,12. Athen- 
agoras Leg. pro Christ., 14 (p. 59, ed. De- 
chair). 

CLEEF, JAN VAN, born at Venloo, Guel- 
derland, in 1646, died in Ghent in 1716. 
Flemish school; history painter, pupil of 
Luigi Primo (Gentile), then in Brussels of 
Gaspard de Craeyer, whom he assisted with 
his numerous works for churches in the 
Low Countries, and on the death of his 
master completed those left unfinished. One 
of the ablest artists of his country. His 
most esteemed works are in the churches 
and in the Museum of Ghent, whither he 
removed in 1681. Works: Assumption, St. 
James's ; Immaculate Conception, St. Mi- 
chael’s; Magdalen at Feet of Christ, St. 
Nicholas ; Sisters of Charity during the 
Plague, Convent of the Black Nuns, all in 
Ghent.—Biog. nat. de Belgique, iv. 141; Mi- 
chiels, ix. 91. 

CLEEF (Cleve), JOOST VAN, called de 
Lotte (crazy) Cleef, born in Antwerp ; flour- 
ished 1530-1550. Flemish school. Painted 
- in France and England. One of the best 
portrait painters of 16th century, approach- 
ing style of Hans Holbein, and foreshadow- 
ing Antonio Moro; great colourist. The 
preference which Henry VIII. gave to Ti- 
tian’s paintings destroyed Van Cleef’s rea- 


son; he died insane. Some of his best 
pictures are: Portraits of himself and wife, 
Windsor Castle ; portrait of himself, Earl 
Spencer, Althorp; two male portraits, Ox- 
ford; SS. Cosmo and Damian, Antwerp 
Cathedral; Last Judgment, Ghent Cathe- 
dral.—Biog. nat. de Belgique, iv. 185; Ch. 
Blane, Ecole flamande ; Rooses (Reber), 70. 

CLEEF, MARTEN YVAN, born in Ant- 
werp, died there about 1570. Flemish | 
school; history painter, pupil of Frans Flo- 
ris; entered Antwerp guild in 1551; is called 
the Master of the Ape, because he some- 
times introduced that animal as his mark. | 
His brother Hendrik (died in Antwerp, 1589) 
supplied the landscapes and backgrounds 
in his and in Frans Floris’s pictures, while he 
often painted the figures in the landscapes 
of his brother, of Gilles van Conincxloo, 
and others. His four sons, Gilles, Marten, 
Georges, and Nicholas, were also painters. 
Works: Room in Peasant’s Cottage with 
Company at Table, Vienna Museum.—Biog. 
nat. de Belgique, iv. 139. 

CLEISTHENHS, scene painter and archi- 
tect, of Eretria, about 384 3.c. He was 
the father of Menedemus, the pupil of Plato. 
—Diog. Laer., 11. 125. 

CLEMENT, FELIX AUGUSTE, born at 
Donzére (Drome), May 20, 1826. Genre 
painter ; pupil of Drolling and Picot. Won 
the grand prix de Rome, 1856. Paints 
chiefly Oriental scenes. Medals: 3d class, 
1861; medal, 1867. Works: Feast of Bai- 
ram in Cairo, Death of Czesar, Destruction 
of Babylon, March of Recruits, Arab Wo- 
man weeping over her Husband’s Tomb 
(1868); Before the Bath (1874); Sick Child 
(1879); Circassian Woman in the Harem 
(1880); Morning (1881); Nymphs Surprised, 
Behold the Great Turk (1883). 

CLEOBIS AND BITON, Antoine Fran- 
cois Callet, Ecole des Beaux Arts, Paris. 
Sons of Cydippe, priestess of Hera at Argos. 
Once, during the festival of Hera, when 
the oxen which were to draw the chariot of 
the priestess did not arrive in time, Cleobis 
and Biton dragged it with their mother 


304 


CLEON 


forty-five stadia to the temple. The priest- 
ess, moved by their filial love, prayed to 
the goddess to grant them what was best 
for mortals. The brothers went to sleep 
in the temple and never rose again. Herod- 
otus, who tells the story (i. 31), makes So- 
lon relate it to Croesus, as a proof that it is 
better for mortals to die than to live. Cal- 
let won the grand prix de Rome in 1764 
with his picture, which represents the broth- 
ers dragging the chariot to the temple. 


By Carl von Stetten, William Schaus, New| 


York ; canvas, H. 5 ft. x6 ft. 6 in. Repre- 
sents the brothers lying in the sleep of 
death in the temple at the foot of the statue 
of Hera; near them is the altar of the god- 
dess, covered with flowers ; in background, 
people entering the temple exhibit aston- 
ishment at the sight. Salon, 1884. Sub- 
ject treated also by Primaticcio in the Cha- 
teau de Fontainebleau. 

CLEON, Greek painter, about 300 B.c.; 
noted for his picture of Cadmus. Pliny, 
xxxv. 40. 

CLEOPATRA BEFORE CAiSAR, Jean 
Léon Géréme, D. O. Mills, New York ; can- 
vas, figures half life-size. Scene: Palace of 
the Ptolemies in Alexandria. Cleopatra, 
determined to gain the favour of Cesar, 
caused herself to be carried into his apart- 
ment concealed in a bale of cloth, which 
Apollodorus, her attendant, bore as a pres- 
ent to him (Dion Cas., xlii. 35 ; Plut., Caesar, 
xlix.). She is represented standing, amid 
the folds of cloth from which she has just 
emerged, glancing at Cesar, who is writing 
at a table. Apollodorus kneels behind her, 
and several secretaries, writing in back- 
ground, look around curiously. Photo- 
gravure in Art Treasures of America. En- 
graved by J. C. Armytage in Art Journal 
(1877), 12.—Larousse, iv. 431. 

CLEOPATRA ON THE CYDNUS, Wil- 
liam Htty, Lord Taunton, London. Cleo- 
patra, as Venus, attended by maids habited 
as Nereids and Graces, and by boys as 
Cupids, sailing along the River Cydnus in a 
magnificent galley, as described by Plu- 


tarch. Royal Academy, 1821; sold for 200 
guineas to Sir Francis Freeling, at whose 
sale bought by Mr. Farrer the dealer, who 
disposed of it to Mr. Labouchere for 1,000 
euineas.—Gilchrist, Life, 93; Art Union 
(1849), 116. 

By Henri Pierre Picou, private gallery, 
San Francisco; canvas. Antony and Cleo- 
patra, surrounded by attendants, in a su- 
perb galley, sailing down the Cydnus. Sa- 
lon, 1848 ; exhibited in New York in 1875. 
Engraved by Gautier. 

CLEOPATRA, DEATH OF, Jean Fran- 
cois Gigoux, Luxembourg Museum, Paris ; 
canvas, H. 3 ft. 9 in. x 6 ft. 5 in. -Salon, 
1850. 

By Guido Reni, Palazzo Pitti, Florence ; 
canvas, H. 3 ft. 10 in. x3 ft. 1 in. Cleopatra, 
three-fourths length, putting the asp to her 
bosom. Painted about 1640. In Guido’s 
third manner. Engraved by N. Le Mire; 
L. M. Faentino. Repetitions in Madrid, 
Barcelona, and Nancy Museums, in the 
Balbi and Durazzo Galleries, Genoa, and in 
Windsor Castle and private collections in 
England.—Wicear, i. Part 5; Gal. du Pal. 
Pitti, i. Pl. 66; Lavice, 68. 

By Alex. Turchi, Louvre ; canvas, H. 8 ft. 
3 in. x 8 ft. 9 in. In foreground, at left, 
Mark Antony, whom two soldiers have car- 
ried into the tomb where Cleopatra has 
taken refuge, is expiring upon a couch ; An 
the background the queen, sustained by 
two women, puts the asp to her breast, 
three other attendants grieving.—Villot, 
Cat. Louvre ; Filhol, i. Pl. 31. 

By Paolo Veronese, Munich Gallery ; can- 
vas, H. 3 ft. 7 in. x2 ft. 10 in. Natural size, 
seen to knees. 

By Guercino, Palazzo Brignole Sale, 
Genoa. Lying on a couch, nude to waist, 
and the rest of the body covered with a 
white drapery, except the feet. One hand 
looses its hold of the asp which it had 
placed on her bosom, the other falls help- 
lessly at her side. —Burckhardt, 770 ; Lavice, 
91. 

By Hans Makart, Stuttgart Gallery ; can- 


305 


CLEOPATRA 


vas. Cleopatra, as Aphrodite, reclines on a 
couch covered with cushions and rich robes, 
with her head raised awaiting the sting of 
the adder coiled around her arm. One of 
her women is kneeling at her feet, covering 
her face in despair; another is asleep on 
the floor. The apartment, which is adorned 
with costly vessels and tropical plants, is 
lighted by a tall candelabrum. Painted in 
1875. 

Subject treated also by Guido Cagnacci, 
Vienna Museum ; Germann van Bohn, Nan- 
tes Museum ; Regnault, and others. 

CLEOPATRA LANDING AT TARSUS, 
Claude Lorrain, Louvre, Paris; canvas, H. 3 
ft. 11 in. x 5 ft. 6in. At right, Cleopatra, 
accompanied by six women, and aided by 
Dellius, an officer of Antony, is landing be- 
fore a palace, the steps of which are washed 
by the sea; Antony, followed by officers, 
advancing to meet her; at left, several ves- 
sels, from one of which sailors are unlad- 
ing vases of gold and silver. Painted in 
Rome about 1647, for Cardinal Angelo 
Giorio, from whom passed to Louis XIV. 
Liber Veritatis, No. 63. Similar picture in 
Collection of Sir J. Reynolds, sold (1795) 
for 250 guineas.—Villot, Cat. Louvre ; Pat- 
tison, Claude Lorrain, 212, 241. 

CLERCK, HENDRIK DE, born in 
Brussels in 1570, died in 1629. Flemish 
school; pupil of Marten de Vos, to whose 
style he adhered; distinguished for the 
poetic treatment of his pictures. Works: 
Holy Family, Christ and the Children, 
Brussels Museum ; Figures in a landscape 
by Alsloot, Vienna Museum.—Michiels, v. 
433. 

CLEVE. See Cleef. 

CLICHY, BARRIERE DE, Horace Ver- 
net, Louvre, Paris ; canvas, H. 3 ft. 2 in. x 
4 ft. 3 in.; signed, dated 1820. Defence of 
Paris in 1814. Marshal Moncey gives orders 
to Chief of Battalion Odiot to prevent the 
Russians from taking possession of the hill 
of Montmartre. Among the figures are: 
Moncey, Odiot, M. de Marguery-Dupaty, 
and Charles and Horace Vernet. Formerly 


in Luxembourg. Engraved by Jazet.—Cat. 
Louvre. 

CLINT, ALFRED, born in London in 
1807. Landscape and marine painter ; son 
and pupil of Geo. Clint, and studied in Brit- 
ish Institute. Began as a portrait painter ; 
became member of Society of British Ar- 
tists in 1850, was its secretary for several 
years, and elected its president in 1869. 
Paints chiefly coast scenery and sunset 
effects. Works: Lake Scene at Sunset, 
Sunset at Hastings, Philadelphia Exposition, 
1876; Twilight, Paris Exposition, 1878 ; 
St. Michael’s Mount—Cornwall, Entrance to 
Harbour of Little Hampton (1877).—Ott- 
ley. . 

CLINT, GEORGE, born in London, April 
12, 1770, died there, May 10, 1854. Portrait 
painter ; was a house-painter, from which he 
advanced to miniatures, and finally became 
successful both in water-colours and in oils. 
He painted a valuable series of dramatic pict- 
ures, comprising portraits of the favourite - 
actors of the time in their most successful 
scenes, many of which are preserved in the 
Garrick Club. Was elected an A.R.A. in 
1821, but resigned in 1836 and became an 
opponent of the Academy, to the exhibitions 
of which he had contributed 94 pictures. 
Works: Falstaff and Mistress Ford, National 
Gallery, London; Hamlet and Ophelia 
(1831), Paul Pry (1831), Honeymoon, S. 
Kensington Museum; Spoilt Child, Lord 
Liverpool, and many portraits in private 
collections. Was also a good mezzotint en- 
graver.—Redgrave ; Bryan (Graves). 

CLODT, MICHAEL CONSTANTINO- 
VICH, Baron, born in St. Petersburg in 1836. 
Landscape painter; pupil of the St. Peters- 
burg Academy, where he won the first prize 
in 1858 ; professor there since 1864, Works: 
Road in Autumn Rain; View in Government 
of Orel ; Return from the Field ; Plain with 
Cattle.—Miiller, 108. 

CLODT, MICHAEL PETROVICH, Bar- - 
on, born in St. Petersburg in 1839. Genre 
painter; pupil of the St. Petersburg Acade- 


'may, where he won the first prize in 1861. 


306 


CLOET 


Works: Sewing-Room in a Franciscan Mon- 
astery ; Prayer before Baptism ; The Jews; 
‘Birthday Celebration in Russia.—Miiller, 
108. 

CLOET, JEHAN. See Clouet, Jean. 

CLOSS, GUSTAV, born in Stuttgart, Nov. 
14, 1840, died at Prien, on Lake Chiem, 
Aug. 14, 1870. Landscape painter, pupil 
of Funk in Stuttgart Art School. Visited 
Italy in 1863, Munich in 1864, Brussels, Ant- 
werp, and Paris in 1866, and settled in Mu- 
nich. His Italian landscapes are pict- 
uresquely conceived and executed with great 
technical skill. His illustrations of German 
poets show the influence of Doré. Works: 
Villa of Hadrian, Road near Sorrento, Group 
of Cypresses near Tivoli, Campagna near 
Rome, Piazza della Fontana in Olevano, 
Evening at Villa Pamfili, The Lonely Inn, 
Christmas Eve, Autumn Night in the Park. 
—Allgem. d. Biogr., iv. 342 ; Kunst-Chronik, 
vi. 124. ? 

CLOTILDA, QUEEN, EDUCATION OF 
CHILDREN OF, Alma-Tadema, King of the 
Belgians. Clotilda, widowed queen of Clo- 
vis, first Christian monarch of France (6th 
century), seated upon a throne in _ back- 
ground, is watching her sons, who are 
throwing the battle-axe at a wooden target 
under the superintendence of an old cap- 
tain-at-arms. She is attended by priests 
and women ; at left, soldiers watching the 
play. Painted in 1861. Replica, J. H. Steb- 
bins, New York.—Art Treasures of America, 
i. 95. 

CLOUET, FRANCOIS, -born in Tours 
about 1500, died between 1570 and 1572. 
French school; son and probably pupil of 
Jean Clouet; also called, like his father, Janet 
or Maitre Jehannet. Received letters of 
naturalization from Francis I. in 1541,when 
he succeeded his father as painter and valet 
de chambre to the king; held same offices 
under Henry II. and Charles IX. Works: 
Portrait of Francis I. (1534), Lord Dudley, 
London ; Portrait of the Dauphin Francois 
II. (1524), Antwerp Museum ; do. of Henri 
II. (1553), Louvre ; do. as a youth, Hampton 


Court; Portrait of Henri IL, do. of Duke 
of Anjou, Berlin Museum ; Equestrian por- 
trait of Henri IT. (copy?), Uffizi, Florence ; 
do. of Azay le Rideau; Portrait of Charles 
IX. (1563), Vienna Museum ; copy by Clouet 
in little, Louvre; Elizabeth of Austria (1570), 
Louvre ; Henri III, Duc d’Alencgon (1577— 
78), Stafford House, London. There are 
many other doubtful pictures attributed to 
Clouet, as well as hundreds of crayon draw- 
ings. Among the latter are collections in 
the Bibliotheque d’Estampes and the Louvre, 
Paris, in the British Museum and Stafford 
House, London, at Castle Howard, York- 
shire, and in the Collection of Archduke 
Albert, Vienna. — Pattison, Renaissance of 
Art in France, i. 327; Ch. Blane, Ecole fran- 
caise ; Schnasse, viii. 333; W. & W., ii. 527; 
Villot, Cat. Louvre ; Siret, 205 ; Gower, Three 
Hundred Portraits by Clouet at Castle How- 
ard (London, 1875); W. & W., ii. 527. 
CLOUET, JEAN, born about 1485, died 
in Paris (?) 
about 1541. 
French 
school; son 
of Jehan 
Cloet, a 
painter of 
Brussels, 
who was in 
the service 
of the Duke 
of Burgundy 
about 1475; commonly called Maitre Je- 
hannet or Janet (diminutive of Jehan); 
settled in France, first at Tours and after- 
ward in Paris. Became painter and valet de 
chambre to Francis I. in 1518; probably 
painted portraits, but no authentic work ex- 
tant, unless the Portrait of Francis I. ? 
(1535-40), Louvre, be one.—Laborde, Re- 
naissance, etc., i. 1, 79; Fréville, Archives 
de lArt francais, 1. 1, 97, 287, iv. 44; Ch. 
Blane, Ecole frangaise ; Villot, Cat. Louvre ; 
Pattison, Renaissance of Art in France, i. 307. 
CLOVIO, Don GIORGIO GIULIO, born 
at Grizane in Illyria in 1498, died in Rome, 


307 


CLOVIS 


Jan. 5, 1578. Lombard school. Real name 
Glovicic ; sometimes called Il Macedone, be- 
cause his family was said to have originated 
in Macedonia. Pupil of Giulio Romano, at 
Mantua,and of Girolamo dai Libri,from whom 
he learned the art of illuminating. Went 
to Hungary in the service of Louis II, on 
whose death in 1526 he returned to Italy. 
During the sack of Rome (1527) he was so 
ill-treated by the Spanish soldiers that he 
vowed to take holy orders if he escaped. 
Afterward entered the monastery of San Ru- 
fino, Mantua, but left in a few years ona 
‘dispensation from the Pope, and entered the 
service of Cardinal Grimani, and on his 
death, that of Cardinal Alessandro Farnese ; 
‘became the best Italian miniature painter of 
his time ; executed a great number of works, 
‘some of which are described by Vasari. His 
‘Office of the Virgin, with twenty-six minia- 
tures now in the library of the Naples Muse- 
um, cost him nine years’ labour. Other 
works: Crucifixion, Uffizi; Pieta, Palazzo 
Pitti, Florence.—Vasari, ed. Mil., v. 330, vii. 
557; Lanzi, ii. 337; Ch. Blanc, Ecole lom- 
barde ; Waagen, i..208, ii. 63, 334, ii. 431; 
Burckhardt, 682. 

CLOVIS, ENTRY OF, Joseph Nicolas Rob- 
ert-Fleury, Versailles Museum ; canvas, H. 
2 ft. 7 in. x 3 ft. Triumphal entry into Tours. 
‘Clovis, to whom the Emperor Anastasius 
had decreed consular honours, put on the 
purple tunic and the chlamys and placed 
the crown on his head in the cathedral ; 
then, having mounted his horse, he rode 
through the streets scattering with his own 
hand gold and silver among the people. 

CLUYSENAAR, ALFRED, born in Brus- 
sels, Sept. 24, 1837. History and genre 
painter ; pupil of Brussels Academy, and in 
Paris of the Ecole des Beaux Arts and of 
‘Cogniet ; visited Italy, Holland, and Ger- 
many. Medal, Paris, 1878 ; L. of Honour, 
1878. Order of Leopold. Works: Henry 
IV. at Canossa (1878) ; in fresco: The Age 
of the Roman Empire, Foundation of the 
Christian Dogma, Contest of Papacy against 
‘Secular Rule, Reformation and Renaissance, 


The French Revolution, University of Ghent. 
—Miiller, 108. 

CLYTEMNESTRA, ancient picture. See 
Tauriscus, Theon. 

By P. N. Guérin, Louvre ; canvas, H. 11 
ft. 3 in. x 10 ft. 8 in.; signed, dated 1817. 
Clytemnestra, dagger in hand, hesitating 
on the threshold of the apartment in which 
Agamemnon is seen asleep, is urged forward 
by Aigisthus, who pushes her by the shoul- 
ders. Salon, 1817; acquired in 1819 for 
12,000 fr. Engraved by A. Johannot ; Sis- 
co.—Réveil, x. 677. 

COBERGHER, (Coeberger,) WENCES- 
LAS, born in Antwerp about 1560, died 
in Brussels in 1635. Flemish school ; 
history painter; pupil of Martin de Vos, 
1578, from whose studio he went to Italy in 
1579; lived in Rome and Naples; returned to 
Antwerp in 1603, where he then entered 
the guild. Called to Brussels by Archduke 
Albert, who entrusted him with all manner 
of work, Cobergher being also an architect ~ 
and engineer. Works: Constantine adoring 
the Cross, St. Jacob’s, Antwerp; En- 
tombment, Brussels Museum ; Pieta, St. An- 
drew’s, Antwerp.—Biog. nat. de Belgique, 
iv. 214; Michiels, viii. 326 ; Rooses (Reber), 
154; Ch. Blane, Ecole flamande. 

COCCHI, POMPEO, of Perugia ; Roman 
school (1523-1549) ; contemporary of Do- 
menico Alfani, and almost his equal. On 
register of guild in 1523. A Madonna with 
Saints in Cathedral of Perugia is signed and 
dated 1525. <A Crucified Saviour in the 
Perugia Gallery, part of a fresco transferred 
to canvas, recalls the Florentine manner of 
the followers of Fra Bartolommeo, still with 
a prevailing Umbrian feeling. Cocchi made 
his will in 1544, and was still alive in 1549. 
C. & C., Italy, iii. 871; Ch. Blane, Ecole 
ombrienne. 

COCK, CESAR DE, born in Ghent in 
1823. Landscape painter. Medals, Paris, 
1867, 1869. Works: Old Mill (1857); Hedge 
Corner (1859); Farm-yard (1865); Old Mill 
at Veules, Herring Box (1866); Poplars 
(1867); Upon the Heath, In the Woods 


308 


COCK 


(1868) ; Morning in the Woods (1869) ; 
Storm in Normandy, Path at Sévres (1870) ; 
_ Spring-Time in Woods, Stream in Woods 
(1872); River in Woods (1873); Road to 
Washing Place, Courtyard of Farmhouse in 
Gasny, Brook in the Woods (1874); In 
Spring-Time, Old Mill, Banks of the Ebro 
(1875); Banks of the Ept, Woods on Banks 
of the Ept (1880); Sluice, Old Willow 
(1881); Flock of Sheep (1882); Charbonel 
Manufactory at Gasny (1883).—Larousse ; 
Gaz. des B. Arts (1869), i. 511. 

~ COCK, XAVIER DE, born in Ghent; 
contemporary. Landscape painter. Medal, 
Paris, 3d class, 1857. Works: Autumn, 
Cows and Goats (1872); Herd of Cows, 
Sheep in an Autumn Landscape (1873) ; 
Cows, A Forest, Harvesters (1874); A For- 
est, Cows (1876); Sheep in Autumn (1878) ; 
Yoke of Oxen (1879); Oxen in a Meadow, 
A Cascade (1880); Cow at a Drinking-Place 
(1881); Flock of Sheep (1882); Woods in Au- 
tumn, Oxen on the Lowland (1883).—L’Art 
(1876). 

COCK FIGHT (Combat de Coqs), Jean 
Léon Gérdme, Luxembourg Museum, Paris ; 
canvas, H. 4 ft. 7in.x 6 ft. 6 in. A young 
Greek, nude, kneeling at right on one knee, 
setting two cocks to fighting; behind, a 
young woman, nearly nude, is seated watch- 
ing the combat. Figures, life-size.—Salon, 
1847 ; medal, 3d class. 

COCX. See Coques. 

COCXIE. See Coxcyen. 

CODDE, PIETER, born in Amsterdam 
before 1610, died about 1660 (?). Dutch 
school; genre painter, principally of social 
reunions and military scenes in the style of 
Palamedes ; probably formed himself at 
Haarlem under the influence of Frans and 
Dirk Hals; spirited conception and fine 
colouring. Painted figures in pictures of 
Dirk van Deelen. Works: Flute Player, 
Haarlem Museum ; The Ball (1636), Game 
of Trictrac, Mauritshuis, Hague ; Peasants 
at Meal surprised by Catchpolls (attributed 
to A. Duck), Copenhagen Gallery ; Company 
of Six (attributed to J. le Ducq), Stockholm 


Museum; Guard-room, Carlsruhe Gallery ; 
do. Gottingen Gallery; Robber Scene (at- 
tributed to C. Bega), Brunswick Gallery ; 
Musical Company (attributed to Cocx), 
Speyer Gallery ; Company at Table (1634), 
Emden Gallery ; do., Schleissheim Gallery ; 
Preparation for Carnival, Berlin Museum ; 
Stable with Soldiers, Musical Company, 
Schwerin Gallery ; Dancing Lesson (1627), 
EK. von Sievers, Dorpat; Soldiers with a 
Girl (1628), Soldiers pilfering Peasant’s 
Cottage (attributed to A. Duck), Dresden 


Gallery; Musical Com- 
pany, Liechtenstein Gal- Cedde, KF 
lery, Vienna; Guard-room : 
(166-), Borghese Gallery, Rome; Seamstress, 
Assembly, Fitzwilliam Museum, Cambridge. 
—Bode, Studien, 141; Havard, A. & A. holl., 
ni, 139: 

COELLO, ALONSO SANCHEZ. 
Sanchez-Coello. 

COELLO, CLAUDIO, born in Madrid 

about 1635, died 


See 


LT Pt aa ° 
ES there, April 20, 

QO 1698. Spanish 

A \ . Spanis 


school; son of 
Faustino Coello, 
a Portuguese 
sculptor; pupil in 
drawing of Fran- 


| 
os =| \\ cisco Rizi; wonthe 
C . \ friendship of Car- 
uy reno, who obtain- 
ed for him admis- 
sion to the royal galleries, where he studied 
Titian, Rubens, and other great masters. 
After executing important works in Toledo 
and Saragossa, he returned to Madrid, was 
made painter to the king in 1684, and on the 
death of Carrefio succeeded to all his hon- 
ours at court. Coello’s masterpiece, the 
Collocation of the Host, in the Escorial, 
cost him two years’ labor. In 1691 he was 
appointed painter to the Cathedral of Tole- 
do, but his satisfaction in this and other 
advantages which he enjoyed was counter- 
balanced in the following year by the arrival 
of Luca Giordano, called by the King of Spain 


209 


COENE 


to decorate the Escorial, and disappoint- 
ment and jealousy finally led to his death. 
Works: Assumption of the Virgin (1669) ; 
do., Portrait of Charles I., Madrid Muse- 
um; Portraits of Jeanne and Maria of Aus- 
tria, and Marguerite of Parma, daughters of 
Charles V., Brussels Museum; Portraits of 
Philip IL, Berlin Museum ; St. Peter of Al- 
cantara walking on the Water, Munich Gal- 
lery ; Portrait of 
Coello, The Mag- 
dalen, Hermit- 
age, St. Peters- 
burg.—Cean Bermudez ; Stirling, iii. 1010 ; 
Ch. Blane, Ecole espagnole ; Viardot, 296 ; 
Madrazo, 387. 

COENE, CONSTANTINUS, born at Vil- 
voorden, in 1780, died in Brussels in 1841. 
Flemish school; history, genre, and land- 
scape painter ; pupil of Hendrik van Assche, 
and in 1809 of Barbiers at Amsterdam ; 
settled afterward in Brussels, where, in 
1820, he became professor at the Academy. 
Great prize in Ghent in 1808. Works: Ru- 
bens receiving from Charles IL the Sword 
with which he had been Knighted (1808), 
Ghent Museum; Soldier returning from 
Waterloo (1815), Brussels Museum ; Group 
of Peasants, Haarlem Museum; View in 
Brussels, Amsterdam Museum. 

COENE, JEAN HENRI DE, born at 
Veder-Brekel, East Flanders; in 1798, died 
in Brussels, April 6, 1866. Genre painter, 
pupil of David and J. Paélinck ; lived many 
years in Paris, afterward professor in Brus- 
sels Academy. Exhibited a number of pict- 
ures in the Salon, several of which have be- 
come well known in France by lithographs. 
Medal, 2d class, 1837. Works: Misery and 
Honesty (1835); Pastoral Tournament, Fri- 
day the Fasting Day (1837).—Larousse. 

COENUS, painter of genealogical tablets, 
about 300 b.c.—Pliny, xxxv. 40 [140]. 

COFFIN, W. A., born in Allegheny City, 
Pa., 1855. Subject painter, pupil of Bon- 
nit in Paris. Exhibited first in the Paris 
Salon in 1879. Studio in New York. Works: 
After Breakfast, T. B. Clarke, New York ; 


Idyl, Toneur de Mandoline (1881); Brittany 
Inn (1882); Examination, Close of Day, Au- 
gust Day (1883); Lady in Black (1885). 
COGELS, JOSEPH (sometimes called 
Cogels Mabilde), born at Brussels in 1786, 
died at Castle Leitheim, near Donauworth, 
in 1831. Landscape and marine painter ; 
pupil of Diisseldorf Academy; visited France, 
returned to Belgium in 1806 and became a 
member of Royal Society of Fine Arts at 
Ghent; went in 1810 to Munich, where he 
painted for the King and Queen, and the 
Duke of Leuchtenberg, pictures for their 
private collections and the Schleissheim 
Gallery. Member of Antwerp Academy in 
1817, honorary member of the Munich Acad- 
emy in 1824. 
Ga landscapes, 
waterfalls, and 


His paintings, 
principally 
old monuments of his native country, are 


highly esteemed. Works: View of St. Sal-- 


vator Platz in Munich (1819), Cassel Gal- 
lery.—Bryan (Graves). 
COGEN, FELIX, born at St. Nicolas, 


Belgium. Genre and animal painter, pupil 


of F. Devigne. Medal, Paris, 3d class, 1875; 


L. of Honour, 1883. Works: Calves and 


Heifers, Cows returning from Pasture (1870); 
Departure for Fishing, Return from Fishing 
(1874) ; Shrimp-Fishers on Coast of Flan- 
ders (1875); Varech (Sea-weed) Harvest in 
Holland (1876); Fisherman’s Wife on Zuyder- 
Zee (1878) ; Inundation Scene (1881); Fisher- 
women at Scheveningen (1883). 
COGHETTI, FRANCESCO, born at Ber- 
gamo, Oct. 4, 1804, died in Rome, April 23, 
1875. History painter, pupil in Bergamo 
of Diotti, and in Rome of Camuccini ; Pres- 
ident of Accademia di §. Luca, Rome. Order 
of St. Gregory the Great. Executed a series 
of decorative compositions in fresco in the 
Palazzo Torlonia, Rome, in the Cathedral, 


and in the Bishop’s Palace at Bergamo, in 


the Basilica at Savona, and in the church at 
Porto Maurizio. Works: Presentation, As- 
sumption, Ascension, Condemnation of St. 


310 


Se TN 


COGNIET 


Stephen ; Exploits of Alexander, Villa Tor- 
lonia ; Battle of Amazons, Triumph of Bac- 
_chus, Four Elements, Villa Castel-Gandolfo ; 
Fable of Psyche and Cupid, Parnassus, Tor- 
lonia Palazzo, Rome; Fable of Prometheus, 
Apollo followed by the Hours, Basilica of 
Savona.—Brockhaus, iv. 486; Larousse; L’Il- 
lustrazione italiana, 1875. 

COGNIET, LEON, born in Paris, ty 29, 
1794, died there, 
Nov. 20, 1880. His- 
tory and portrait 
painter, pupil of Gué- 
rin; won the prix 
de Rome in 1817. 
Medals: 2d class, 
1824; Ist class, 1855; 
L. of Honour, 1828; or 
Officer, 1846 ; Prus- 
sian Order pour le 
mérite, 1865; member of Institute, 1849. 
His first pictures, though classical in style, 
show a realistic tendency. Founder of one 
of the best art schools in Paris. Works: 
Metabus, King of the Volscians (1822); Ma- 
rius at Carthage, Massacre of the Innocents 
(1824); Numa in the Grotto of Egeria ; 
Rape of Rebecca ; Napoleon in Kgypt, Paris 
National Guard-in 1792 (1836); Battle of 
Rivoli, Episodes in Egyptian Campaign, 
Versailles Museum ; Tintoretto painting his 
Dead Daughter (1843), Bordeaux Museum; 
St. Stephen, St. Nicolas-des-Champs; Mag- 
dalen, Madeleine, Paris.—Claretie, Peintres, 
etc. (1882), 361; Larousse ; Meyer, Gesch., 
439; Gaz. des B. Arts (1881), xxiii. 33. 

COGNIET, Mme. LEON, (née Catherine 
Caroline Thévenin), born in Lyons, Oct. 23, 
1813. History and genre painter ; wife and 
pupil of Léon Cogniet. Medals: 3d class, 
1840; 2d class, 1848. Works: A Studio 
(1836); Bad Fellow (1837); Red Fish (1838); 
Prix de Rome (1840); Sick Girl (1843); Vir- 
ginia (1848); St. Cecilia (1852); St. Genevieve 
as a Child (1853). 

COIGNARD, LOUIS, born in Mayenne 
in 1812, died in 1883. Animal and land- 
scape painter ; pupil of Picot. Medals: 3d 


class, 1846; 1st class, 1848. Works: Mary 
in Desert (1838); Little Fisherman by Sea, 
Christ and Disciples at Emmaus, Sleep, 
Evening, Cattle in Woods (1842-1845); Cows 
on Borders of a Wood (1846); Bulls Fight- 
ing (1847); Drinking Place, Morning (1848); 
Woman watching Cows, The Bull, Cares of 
a Farmer’s Wife, Morning Rest, Henri IV.’s 
Oak (1849-53), bought by State ; Morning 
Repose (1852), Luxembourg Museum ; Pas- 
ture in Holland, Valley of the Main (1855); 
During the Storm, Landscape with Animals 
(1857); Grass and Drinking Place in Valley 
of the Auge, Bulls Fighting, The Cow Pond 
(1859); Herd in Pasture (1861); Landscape 
in Normandy (1863); Herd at Edge of Forest, 
Cows in a Marsh (1873) ; Cows in a Belgian 
Forest (1874) ; Flock of Sheep, Morning in 
Pasture(1875);Cattle Resting, Drinking Place 
(1876) ; Cattle Resting in a Prairie (1877). 

COIGNET, JULES (LOUIS PHILIPPE), 
born in Paris, Dec. 2, 1798, died there 
April 1, 1860. Landscape painter, pupil of 
Bertin ; travelled in Italy and the East, and 
painted many pictures marked by poetical 
feeling and delicacy of light and shade effects. 
Also produced many water-colours and chalk 
drawings, and wrote a work on landscape 
painting. Medals: 2d class, 1842, 1848; L. 
of Honour, 1836. His Ruins of Temple of 
Peestum, one of his best works, is in the Mu- 
nich Gallery.—Bryan (Graves). 

COL, DAVID, born in Antwerp, April 6, 
1822. Genre painter, pupil of Antwerp 
Academy. His pictures, mostly on a small 
scale, are to be found in nearly all the mu- 
seums and private collections of Belgium. 
Order of Leopold, 1875. Works: Shaving 
Day ; Out with You! Throwing Snowballs ; 
Canary Fancier; Interrupted Meal; The 
Blusterers (1875).—Miiller, 109. 

COLANTONIO DEL FIORE, born in 
1352 (?) died in 1444 (?) Neapolitan school. 
The question of the existence of this painter 
rests on a letter written in 1524 by Sum- 
monzio the architect, who says that Colan- 
tonio abandoned tempera for oils, which he 
learned from Réné of Anjou, but that he 


alt 


COLAS 


failed to attain the skill of his disciple An- 
tonello da Messina. Domenici, who is little 
to be trusted, gives the above dates of his 
birth and death, and attributes to him a trip- 
tych, dated 1375, in S. Antonio Abate, Na- 
ples; a second picture in two parts, supposed 
to have formerly been dated 1436, one part 
in S. Lorenzo, Naples, the other in the Naples 
Museum ; and a fresco in S. Angelo a Nilo, 
Naples. C. & C., however, doubt if there 
ever was a Colantonio, and think it possible 
that Summonzio may have confounded him 
with Antonello da Messina.—C. & C., Italy, 
i, 822, 334; do., N. Italy, ii. 82; Vasari, ed. 
Mil., ii. 585; ed. Le Mon, i. 163, iv. 95; 
Lanzi, ii. 4; Burckhardt, 523; Domenici, 
Vite de’ Pittori, etc., Napoletani ; Ch. Blanc, 
Ecole napolitaine. 

COLAS, ALPHONSE, born at Lille, 
Sept. 24, 1818. French school; history 
and portrait painter, pupil of Souchon. 
Medals, 3d class, 1849, 1863. Director of 
School of Painting at Lille. Works: Call- 
ing of St. James (1869), St. James's, Douai ; 
France in 1870-71 (1872); Portraits (1877, 
1879, 1880, 1883). 

COLE, GEORGE, born at Portsmouth in 

1810, died in Lon- 

don, Sept. 7, 1883. 

Landscape paint- 

er, self-taught; 

began as a por- 
trait and animal 
painter in Ports- 
mouth ; exhibited 
. first in London in 
au 7 1840; member in 
J! 1850 of the Soci- 
ety of British Ar- 
tists, of which he became vice-president. 
Works: Surrey Harvest (1864); Pride and 
Humility; Loch Lubnaig ; Gunnard’s Head 
—Cornwall (1870) ; River Scene — Sussex 
(1874); Wheat Harvest—Hampshire (1877); 
Morning on the Thames—Windsor, Wind- 
sor Castle—Morning, Thirlmere (1878); Tim- 
ber Drag (1880).—Art Journal (1883), 343 ; 
Kunst-Chronik, xviii. 743. 


COLE, THOMAS, 
Moor, England, Feb. 1, 1801, died near 
Catskill, N. Y., Feb. 
11, 1848. Land- 
scape painter; in 
1819 his father emi- 
grated to America 
and settled in Ohio, 
where Thomas first 
learned the rudi- 
ments of art from a 
portrait painter 
named Stein. After 
studying nature under great difficulties, he 
went in 1825 to New York, and was first 
brought into notice by his views on the Hud- 
son. He made several visits to England, 
France, and Italy, but passed the greater 
part of his professional life in New York. Ex- 
hibited at Royal Academy, London, View in 
New Hampshire, Tomb of General Brock 
(1830), and View in United States (1831). 


Two of his allegorical series, the Course 


of Empire and Voyage of Life, were very 
popular. Works: Dream of Arcadia; De- 
parture; Return; Garden of Eden (1828); 
Expulsion from Paradise (1828), Lenox Li- 
brary, New York ; Titian’s Goblet (1833), 
J. M. Falconer, New York; Mount Etna, 
White Mountains, Wadsworth Collection, 
Hartford ; Angel appearing to the Shep- 
herds, Boston Athenzeum ; Primitive State 
of Man, E. L. Rogers, Baltimore ; View on 
the Thames, Jonathan Sturges, New York ; 
Cross in the Wilderness; L’Allegro; Il 
Penseroso; Mountain Ford, M. K. Jesup; 
Cross and the World (unfinished), Vincent 
Colyer; Course of Empire, Vale of Segesta, 
Italian Landscape, Moonlight, Conway Peak, 
Catskill Creek, Summer Sunset, Historical 
Society, New York.—Noble, Life and Works 
(1850) ; Tuckerman, 223. 

COLE, VICAT, born at Portsmouth, 
England, in 1833. Landscape painter, son 
and pupil of George Cole; exhibited first 
picture at British Institution in 1851, and at 
Royal Academy in 1854; elected an A.R.A. 
in 1870, and R.A. in 1880. Works: Under 


812 


born at Bolton le 


oe 


we iy 
es 


COLEMAN 


the Greenwood Tree (1860); Summer’s 
Golden Crown (1866) ; oe down to 
Camelot 
— (1869) ; Even- 
ing Rest ; Sun- 
shine Showers 
(1870); Au- 
tumn Gold 
(1871) ; Sum- 
mer Rain 
(1873) ; Misty 
Morning, Heart 
of Surrey 
(1874) ; Rich- 
mond, Loch 
Scavaig (1875); 
Day’s Decline 
(1876) ; Arundel, Summer Showers (1877) ; 
Surrey Pastoral (1878); Autumn Leaves, 
Ripening Sunbeams (1879); August Days, 
Streatley on Thames, Wargrave (1881) ; 
Sources of the Thames (1882) ; Windsor, 
Autumn Morning (1883); Sinodun Hill 
(1885).—Meynell, 33. 

COLEMAN, CHARLES CARYLL, born 
at Buffalo, N. Y., in 1840. Figure and 
still-life painter; went to Kurope in 1859 
and again in 1866, since which has not re- 
turned to America. Exhibits in New York, 
London, Paris, and Rome. An A.N.A. of 
New York and member of the London Art 
Club. Studio in London in 1883. Works: 
Troubadour, Young Monk, Nuremberg Tow- 
_ ers (1876); Bronze Horses of St. Mark’s— 
Venice (1877), Lady Ashburton ; Decorative 
Panel (1878); Interior of Chapel adjoining 
Sala del Cambia—Perugia; Venice —An- 
cient and Modern (1880); Remote Quarter 
of Paris in 1878 (1881). 

COLIN, ALEXANDRE (MARIE), born 
in Paris, Dec. 31, 1798, died there, Nov. 23, 
1875. Genre painter, pupil of Girodet- 
Trioson ; director several years of School of 
Design in Nimes. Medals: 2d class, 1824 
and 1831; 1st class, 1840; L. of Honour, 
1873. Works: French Fish-market (1832), 
National Gallery, Berlin ; Scene in Otaheite, 
Street of Calcutta (1841); Flanders Fisher- 


women (1842); Christopher Columbus (1846), 
Masaniello (1848); Christ on the Cross 
(1850), bought by State; Michelangelo 
watching at his Servant’s Bedside (1855); 
Scene in the Roman Campagna, Columbus's. 
first Arrival in Spain (1857); Nymphs Bath- 
ing, Breton Peasant (1859); Reception of 
Columbus by Ferdinand and Isabella at. 
Barcelona, Lorenzo de’ Medici and Michel- 
angelo, Public Reader on Mole of Naples, 
Encounter in the Desert, Moorish Interior 
(1861); Mater Dolorosa, Death of Gessler, 
Suburb of Isel at St. Omer (1863); Flan- 
ders Fishermen, Fisherman at Foot of a 
Cliff (1864); Christ in Garden of Olives, 
Gypsies Halting (1865) ; King Candaules, 
Satyr and Bacchante (1866); Joy of the 
Hearth, Who giveth to the Poor lendeth to 
the Lord (1868); Little Sister (1869); Hur- 
ricane on Borders of Sea (1870); Drama of 
the Sea (1873); Before Marriage (1874).— 
Montrosier, Artistes modernes. 

COLIN, PAUL, born. at Nimes in 1838. 
Landscape painter ; son and pupil of Alex- 
andre Colin and pupil of J.P. Laurens. 
Medal, 3d class, 1875 ; L. of Honour, 1883, 
Works: Farm of Groult, Little Marauders 
(1875); Moat of Hogue, Plateau of Crique- 
boeuf (1876); Road of Yport (1877); Two 
Views at Valmont (1879); Valley of Yport 
(1880); Street in Toledo (1881); Pool of 
Criquebceuf (1882); Pool of Guéville, Apple- 
yard at Loysel (1883) ; Farm Stable, Ducks 
(1884); Mare aux Pigeare (1885). 

COLLANTES, FRANCISCO, born in 
Madrid in 1599, died there in 1656, Span- 
ish school; pupil of Vincenzo Carducci ; 
best known as a landscape painter, though 
he painted also figures, animals, and fruit. 
and flowers. Works: Vision of Ezekiel, 
Burning of Troy, St. Wil- 
landscapes, Madrid Mu- 
seum; Burning Bush, C. 
Louvre ; Landscape, Mu- et 
St. Petersburg.—Viardot, 267; Ch. Blane, 
Ecole espagnole ; Madrazo, 392, 


liam of Aquitaine, two 
nich Gallery ; St. John Baptist, Hermitage, 


813 


COLLART 


COLLART, Mme. MARIE, born in Brus- | 


sels; contemporary. Landscape painter. 
Medals: Paris, 1870, 3d class, 1878. Works: 
Winter, Autumn (1868); The Source, Bake- 
room (1869); Sunday Morning, Orchard 
(1870) ; Old Orchard, Winter Evening 
(1872); Farm Yard at Dunkirk (1873); Peas- 
ant’s Garden at Beersel—Belgium, Old 
Beersel Road in Winter (1874); View at Cal- 
voet near Brussels (1875); Evening, April 
(1879) ; Mill of Calvoet, Canal of Rusbraeck 
(1881); Valley de la Senne (1882). 

COLLIER, JOHN, born in England ; 
contemporary. Figure and portrait painter. 
Works: The Aiguille verte—from Argen- 
tiére (1877); Last Voyage of Henry Hudson 
(1881) ; Clytemnestra, portraits of the Lord 
Chancellor, Chas. Darwin, and Sir George 
Campbell (1882); portrait of Huxley (1883); 
Sir George Biddell Airy (1884); Lady Lo- 
raine (1885). His wife, Marion Collier, 
daughter of Prof. Huxley, is also a painter 
of promise. Her Coming Tragedian was ex- 
hibited at Royal Academy in 1882. 

COLLIN, (LOUIS JOSEPH) RAPHAEL, 
born in Paris; contemporary. Figure and 
portrait painter, pupil of Cabanel. Medal, 
2d class, 1873 ; L. of Honour, 1884. Works: 
Slumber (1873); Venetian Girl; Young 
Girl of Basle (1874); Idyl (1875); Daph- 
nis and Chloé (1877) ; The Dance (1881); 
Idyl (1882); Portraits (1883); Summer 
(1884). 

COLLIN DE VERMONT, HYACINTHE, 
born at Versailles, January 19, 1693, died 
in Paris, February 16, 1761. French school. 
History painter, pupil of Jouvenet ; received 
into the Academy in 1725, professor in 1733, 
adjunct rector in 1754. Works: Birth of 
Bacchus (1725), Tours Museum ; Scenes in 
History of Cyrus, Descent from the Cross, 
The Gods cutting the Wings of Cupid, 
Judgment of Solomon (1737); Marriage of 
Alexander and Roxana (1745); History of 
Cyrus (33 pictures, 1751) ; Presentation of 
the Virgin (1755), St. Louis’, Versailles; 
Marriage of St. Catherine, Lyons Museum. 
—Bellier de la Chavignerie, I. 279. 


COLLINGWOOD, WILLIAM, born at 
Greenwich, England, in 1819. Landscape 
painter, water-colours ; pupil of J. D. Har- 
ding ; first exhibited in 1839 ; elected associ- 
ate of Society of Painters in Water-Colours 
in 1855. Paints chiefly mountain scenery 
and interiors. Works: Cloud-Caps from 
Summit of Snowdon, Sunset from the Rigi, 
Sunday at Haddon Hall, Lake of Como, 
Mauvais Pas, Mont Blanc, Ludlow Castle. 

COLLINS, WILLIAM, born in London, 

9 Sept. 18, 1788, 
died there, Feb. 
17, 1847. Son 
of a picture deal- 
er; student at 
Royal Academy 
in 1807-14; be- 
came an A.RA. 
in 1814, and R.A. 
in 1820. Paint- 
ed chiefly land- 
scapes with rustic groups. After visit- 
ing France, Holland, and Belgium, spent 
two years in Italy in 1836-38, and gathered 
material for pictures of Italian life. Though 
his art was feeble, his pictures were popular 
on account of the character of his subjects, 
and many of them have been engraved. 
Works: Blowing Bubbles (1810); Weary 
Trumpeter, Young Fifer (1811); May Day 
(1812); Sale of Pet Lamb (1813); Bird Catch- 
ers (1814); Shrimp Boys (1816); Sunrise, 
Fishermen coming Ashore (1817); Scene on 
Coast of Norfolk, Bird’s Nest (1818); Watch- 
ing for a Bite (1820); Bird Trap (1821); 
Woodcutters, Clovelly—N. Devon (1822); 
Fish Auction (1823); Stirling Castle, Cherry 
Seller (1824); Buying Fish on the Beach, 
Prawn Fishers (1825); Fisherman’s Depart- 
ure (1826); Frost Scene, Buying Fish 
(1827); Doubtful Weather, Freshwater Bay 
(1828); Morning after Storm, Summer 
Moonlight, Prawn Fishing (1829); Mussel 
Gatherers (1830); Shrimpers, Morning Bath, 
Nutting Party (1831); Skittle Players, Rustic 
Civility (1832); Stray Kitten (1833); Rustic 
Hospitality, Morning Lesson (1834); Mari- 


314 


COLLINSON 


ner’s Widow (1835); Sunday Morning, Hap- 
py asa King, Leaving Home (1836); Scene 
_ near Subiaco, Young Lazzaroni playing 

Game of Arravoglio (1839); Christ in the 
Temple, Ave Maria, Passing Welcome (1840); 
Disciples at Emmaus, Caves of Ulysses, 
Woodcutter’s Repast (1841); Prayer, Welsh 
Guides (1842); Madonna, Windy Day, Sul- 
try Day (1843); Catechist, Morning—Bou- 
logne (1844); Fetching the Doctor, Sunrise 
at Sea (1845); Early Morning, Mead-foot 
Bay (1846). His son, Charles Allston Col- 
lins (1828-1873), who married Charles 
Dickens’s daughter, was also a genre painter, 
but turned to literature.—Memoir by his 
son, Wilkie Collins (London, 1848); Sandby, 
i. 365 ; Art Union Monthly Journal, April, 
1847 ; Art Journal (1855), 141; Redgrave, 
Century, ii. 410 ; Ch. Blanc, Ecole anglaise. 

COLLINSON, ROBERT, born in Chesh- 
ire, July, 1832. Landscape and genre 
painter, student of Government Schools of 
Design, Manchester ; removed about 1854 to 
London, where he was for many years pro- 
fessor of painting in the S. Kensington 
schools. Works: Hopes and Fears (1862); 
Ordered on Foreign Service (1864); Money 
Changer, Leisure Hour (1865); Close of 
Day (1868); Sacred Spot (1869); Dawn of 
Hope (1870); Absorbed in Robinson Crusoe 
(1871); To Win or Die (1872); The Escape 
(1873); Leaves from Nature (1874); Sunday 
Afternoon (1875); Home, Mill Pool (1878); 
Light in the Cottage (1879); English Home 
(1883); The Last Mile (1884). 

COLMAN, SAMUEL, born in Portland, 
Me., in 1832. Landscape painter, pupil of 
A. B. Durand in New York. Visited France 
and Spain in 1860-62; went abroad a sec- 
ond time in 1871, and travelled in Switzer- 
land, Germany, North Africa, Italy, France, 
and Spain. Elected N.A. in 1862. Studio 
in New York. Works: Bay of Gibraltar ; 
Andernach on the Rhine; Street Scene 
in Caen—Normandy; Market Day in 
Brittany — Le Mans; Arab Caravansary 
(1879); Arab Burying-Ground, Genesee 
River at Avon, Dutch Boats off Coast of 


Holland (1880); Evening at Amalfi—Italy, 
Misty Afternoon in Venice (1881); Zandam 
—Holland, Ruins of Moorish Mosque—Al- 
geria (1882); Tower of Giralda (1884).— 
Sheldon, 72. 

COLONNA, ANGELO MICHELE, born 
in Como in 1600, died in Bologna in 1681 
or 1687. Bolognese school; pupil of Fer- 
rantini and of Dentone, with the latter of 
whom he painted many frescos in Bologna, 
Colonna painting the figures in his master’s 
landscapes and architectural pictures. He 
acquired a great reputation as a decorative 
fresco painter. After the death of Dentone 
(1632) he associated with himself Agostino 
Metelli, and the two executed numerous 
works in Bologna, Ravenna, Parma, Modena, 
Rome, and other cities. In 1659 they went, 
at the invitation of Philip IV., to Madrid, 
and decorated several halls in the palace 
of Buen Retiro. After Metelli’s death Co- 
Jonna returned to Italy, and with Giacomino 
Alboresi as his collaborator executed many 
important works in Bologna, Florence, and 
elsewhere.—Malvasia, ii. 345 ; Lanzi, iii. 136 : 
Ch. Blane, Ecole bolonaise; Gualandi, Guida. 

COLOTES, painter, of Teos, about 396 
B.c. He was defeated in a painting contest 
by Zimanthes, whose famous picture of the 
Sacrifice of Iphigenia carried off the prize. 
—Quin. ii. 13, 12. 

COLUMBARIUM, Hector Leroux, Lux- 
embourg, Paris ; canvas, H. 4 ft. 7 in. x3 ft. 
4 in. A funeral in the Columbarium of 
the Palace of the Cesars, Rome. The pro- 
cession is coming down a steep stairway, 
the upper part of which is illuminated by 
sunlight through an archway; below, at 
right, two musicians.—Salon, 1864. 

COLUMBINE, LA, Bernardino Luini, 
formerly attributed to Leonardo da Vinci, 
Hermitage, St. Petersburg; wood, trans- 
ferred to canvas, H. 1 ft. 54 in.x1 ft. 2 in: 
A beautiful girl, “en déshabille,” sits under 
a rock overgrown with ivy, looking at a 
columbine held in her left hand ; her white 
dress, with yellow ornaments, is held by a 
jewelled brooch, leaving one breast uncover- 


315 


COLUMBUS 


ed ; a blue tunic falls from the left shoulder. 
Believed to be a portrait of one of the mis- 
tresses of Francis I. Called also Flora and 
Vanity. In cabinet of Marie de Medicis in 
1649 ; afterward in Orleans Gallery, whence 
sold (1829) to Mr. Udney for $105, passed 
thence to Banker Walckiers, Brussels, and 
then to gallery of The Hague; sold at sale 
of William Il. (1850) to Hermitage for 


La Columbine, Bernardino Luini, Hermitage, St. Petersburg. 


40,000 florins, Copy in Stafford House, Lon- 
don, and another at Stratton (Sir Thos. Bar- 
ing). Attributed by C. & C. to A. Solario. 
—C. & C., N. Italy, ii. 58 ; Heaton, 258, 296 ; 
Waagen, Ermitage, 35; Vasari, ed. Mil. iv. 
63; Rigollot, Hist. des Arts, etc., i. 292. 
COLUMBUS DISCOVERING LAND, 
Hermann Freihold Pliiddeman, National 
Gallery, Berlin ; canvas, H. 4 ft. x 4 ft. 7 in.; 
signed, dated 1836. Columbus leans against 
the mast with folded hands and upraised 
eyes, while his officers prostrate themselves 
before him in shame and contrition; near 
the bow, sailors greet the land with passion- 
ate gestures ; others embrace each other. 


COLUMBUS, LANDING OF, John Van- 
derlyn, rotunda of Capitol, Washington ; can- 
vas, H. 12 ft.x18 ft. The first landing of 
Columbus and his followers in the New 
World—at San Salvador. Painted in 18— 
for $10,000. Engraved on back of $5 United 
States national bank notes. 

COLUMBUS, DEATH OF, Gustaay Wap- 
pers, private gallery. Columbus, lying upon 
his bed, places his hand on the head of a 
young man kneeling beside him; by the 
bedside is a large chest, from which the 
chains Columbus had worn are partly hang- 
ing out. Engraved by D. Devachez.—Art 
Journal (1865), 268. , 

COLYER, VINCENT, born at Blooming- 
dale, N. Y., in 1825. Landscape painter ; 
pupil of John R. Smith and of the National 
Academy. Practised his profession in New 
York many years, exhibiting at the National 
Academy. Elected an A.N.A. in 1849. Stu- 
dio in Rowayton, Conn. Works: Johnson 
Straits — British Columbia, J. N. Stearns, 
New York ; Columbia River (1875); Portrait 
of Geo. H. Story, National Academy, New 
York; Pueblo —AIndian Village, Passing 
Shower (1876); Home of the Yackamas— 
Oregon, H. Bigelow, New York ; Contraband, 
T. Kensett, Baltimore ; Darien Shore—Con- 
necticut, Rainy Day on Connecticut Shore, 
Sunrise (1881); Winter on Connecticut 
Shore, Winter Bit (1884); Spring Flowers 
(1885). 

COMAN, CHARLOTTE B., born at 
Waterville, N. Y.; contemporary. Landscape 
painter, pupil of James Brevoort, of H. 
Thompson, and in Paris of Emile Vernier. 
Painted six years in France and Holland. 
Studio in New York. Works: French Vil- 
lage (1876); Sunset at the Seaside—France 
(1877); Near Fontainebleau, Borders of the 
Marne, Peasant Home in Normandy (1878); 
Cottage in Picardy (1881); Old Windmills 
in Holland, Spring Time in Picardy—France 
(1882); View near Schiedam—Holland 
(1883); Street in Cernoy La Ville—France, 
Farmer’s Cottage in Picardy (1884); Poppy 
Field in Normandy (1885). 


316 


COMBA 


COMBA Y GARCIA, Don JUAN;; con- 
temporary. Historical genre painter. Medal, 
Madrid, 1885. Works: Dofia Leonor la 
Bella asking Justice of Don Pedro I. of Cas- 
tile (1878); At the Ringing of the Angelus 
(1881); Idealism and Reality ( (1885).— La 
Tlustracion (1878), i. 402; 872); 4./46-: 
(1881), ii. 331; (1885), i. 235. 

COMBAT, Wm. fitty, National Gallery, 
Edinburgh ; canvas, H. 10 ft. 4 in. x 13 ft. 
3 in. Two men fighting ; the younger, whose 
sword lies broken at his feet, is wounded 
and forced upon his knees, while his ad- 
versary, grasping him by the hair, is about 
to deal a deadly blow, but is restrained by a 
woman who throws herself at the conquer- 
or’s feet and appeals for mercy. Royal 
Academy, 1825 ; sold to John Martin, £300. 
Engraved by G. T. Doo.—Painters of Geor- 
gian Era, 67; Gilchrist, Life, 227. 

COMERRE, LEON FRANCOIS, born at 
Trélon (Nord) ; contemporary. Genre paint- 
er, pupil of Cabanel. Won the grand prix de 
Rome in 1875. Medals: 3d class, 1875 ; 2d 
class, 1881; Philadelphia Exhibition, 1876. 


[38t 


Works: Cassandra (1875); Juno, Jezebel 
devoured by Dogs (1878); Amorous Lion 
(1879); Samson and Delilah (1881); A Star 
(1882); Silenus and Bacchantes (1883); Pier- 
rot, Madeleine (1884). 

COMMITTEE ON MORAL BOOKS, 
Georges Jean Vibert, Wm. H. Vanderbilt, 
New York; canvas, H. 1 ft. 7 in. x 2 ft. 
2in. ‘Two holy fathers, who are examining 
the books and committing the indecorous 
ones to the flames, are having a good laugh 
over some racy passage which one of them 
is reading aloud.—Latham sale, New York, 
1878, $4100. 

COMONTES, FRANCISCO, died in To- 
ledo, Feb. 10, 1565. Spanish school; history 
and portrait painter, son and pupil of Inigo 
Comontes, scholar of Rincon, Painter to 


the Cathedral of Toledo from 1547 until his 
death. Painted many ecclesiastical digni- 
taries.—Stirling, i. 149, 

COMPROMISE OF NOBLES AT BRUS- 
SELS, Edouard de Biefve, Brussels Muse- 
um; canvas. Signing of the protest against 
the arbitrary acts of Philip IL by the nobles 
of the Netherlands, in the Hétel Cuylenburg, 
Brussels, Feb. 16, 1566. In the foreground 
is Count Philip van Marnix, author of the 
document, and facing him, Count Horn, 
about to sign it ; on the steps behind, Count 
Brederode talks to the assembly; Egmont is 
seated in an arm-chair in right foreground, 
with William of Orange standing near him. 
Painted in 1841. Replica in small, National 
Gallery, Berlin. 

COMPTE-CALIX, FRAN we CLAUDI- 
US, born at Lyons, 
Aug. 28, 1813, died 
at Chazay-d’Azergues, 
July 29, 1880. Gen- 
re painter, pupil of 
Jean Cl. Bonnefond. 
Many of his works 
have been engraved 
and lithographed. 
Medals: 3d_ class, 
1844, 1857, 1859, De 
1863. Works: Mother a Stepmother 
(1845); Love in the Castle and Love in the 
Cottage (1846); Alone in the World (1848); 
Fortune and Happiness (1852); Encourage- 
ment and Forgiveness (1855); The Four 
Corners, Poor Mother (1857); Frightened 
Deer (1858); The Heart’s Victory (1859); No 
Smoke without some Fire, Learning to Sin 
(1861); Departure of the Swallows, Old 
Friend (1863); Boarding-House Friends, 
Swallow’s Nest (1864); Viper’s Nest, Rose is 
Dead (1865); Evening (1866); Woman Read- 
ing, Country Agent (1867); Orphan Girl 
(1869); Poor Love (1870); Geography Les- 
son (1872); Simple Story (1873); Don’t waken 
Him, Adam and Eve, Souvenir of Cannes 
(1874); Path that leads very Far, Where are 
they Going? Good-Night, Neighbour (1875); 
Venice in 16th Century, Not the Smallest 


317 


COMTE 


Brother (1876); Wedding in La Bresse, He 
told Me (1877); Search for the Truth, Tell 
me about That (1878); Attacking the First 
Lines, Dead Leaves (1879); Susannah Bath- 


4 Covay' e-CaliX 


ing, The Hospital Nurse (1880).—Larousse ; 
Hamerton, Painting in France ; Kunst-Chro- 
nik, xv. 688 ; Montrosier. 

COMTE, PIERRE CHARLES, born in 
Lyons, April 23, 1828. Genre and history 
painter ; pupil of Delaroche, H. Vernet, and 
Robert Fleury. Medals: 3d class, 1852 ; 
2d class, 1853, 1855, and 1857, and 3d class, 
1867; L. of Honour, 1857. Works: Last 
Throw of Dice, Coronation of Inez de Cas- 
tro, Charles IX. visiting Coligny, Jeanne 
d’Albret with René (1848 to 1853); Henri 
UL. and Duke of Guise (1855), Luxembourg 
Museum ; Arrest of Cardinal de Guise and 
of d’Espaignac, Bass Viol Player (1855) ; 
Lady Jane Grey, Henri IL visiting his 
Menagerie (1857); Alain Chartier and Mar- 
garet of Scotland, Cardinal Richelieu (1859); 
Joan of Arce at the Coronation of Charles 
VII. (1861); Charles V. and the Duchesse 
d’Etampes, Recreation of Louis XI. when 
Sick, Rabelais’s Seigni Joan (1863); Eleanor 
of Este making her Son, Henry of Guise, 
swear to avenge his Father (1864); Charles 
V. in Castle of Ghent after Abdication, 
Young Dutch Lady embroidering (1866); 
Henri Ill. at Time of Murder of Duke of 
Guise, Body-Guard of 17th Century (1867) ; 
Gypsies exhibiting Dancing Pigs to Louis 
XL, The Mirror (1869); Marie Touchet 
(1870); Carp at Fontainebleau in 16th Cen- 
tury (1874); Winter (1876); Cards, Don 
Quixote’s Niece (1877); Dante (1878); Love 
chasing Time, Time chasing Love (1879); 
Francis I. putting Rings upon Carp at Fon- 
tainebleau (1880); Corps de Garde under 
Louis XIII, The Pigeons (1884). Works in 
United States: Scene at Fontainebleau 
(1874), Corcoran Gailery, Washington ; The 
Young Prince, W. H. Vanderbilt, N. Y. 


CONCA, SEBASTIANO, born at Gaeta 
in 1679, died in Naples in 1764. Neapoli- 
tan school; history painter, pupil of Fr. 
Solimena ; visited Rome in 1706 and drew 
from the antique for five years. Employed 
in decorating S. Clemente with frescos, he 
executed his task so successfully that Clem- 
ent XI. knighted him and gave him many 
public commissions. He painted also for 
the kings of Spain, Portugal, Sardinia, and 
Poland, for the Elector of Cologne, and for 
the cities of Siena, Pisa, Loretto, Palermo, 
and Gaeta; but he was indebted rather to 
the decadence of art in his time than to any 
original merit. Works: Abraham sending 
away Hagar, Berlin Museum; Herod and 
the Magi, Dresden Gallery ; Joseph in Prison, 
Darmstadt Museum ; Christ in the Wilder- 

~ ness, Death of Seneca, 


Madrid Museum; Assump- 
tion, S. Martino and S. 
& Tea, Rome; St. Francis 


Xavier, Ancona Museum. His brother, Gi- 
ovanni Conca, painted in his style and made 
good copies.—Lanzi (Roscoe), i. 517. 

CONCEPTION, IMMACULATE (Fr., 
Conception ; Ital, Concepcion; Sp., Con- 
cepcion ; Ger., Empfingniss Maria). The 
pictorial representation of the doctrine that 
the Virgin came into the world free from 
the stain of original sin. 

By Murillo, Mrs. Wm. H. Aspinwall, New 
York; canvas, H. 6 ft. 6 in. x 4 ft. 5 in. 
The Virgin, looking up to left, standing 
in hollow of crescent moon, with hands on 
breast; beneath each side, four cherubs, 
with palm, lily, and olive branches ; above, 
each side, five heads. Taken from Royal 
Palace, Madrid, by General Desolle, whose 
daughter sold it to Mr. Woodburn, from 
whom bought by King of Holland for about 
£4,000; sold in 1857 to Mr. Aspinwall. 
Repetitions: Lord Overstone, London; with 
changes, Louis Philippe sale (1853).—Stir- 
ling, iii. 1418; Harper's Weekly, June 30, 
1858 ; Curtis, 132. 

Murillo, Capuchin Church, Cadiz ; canvas, 
H. 6 ft. 10 in. x 5 ft. 4 in. The Virgin, 


818 


CONCEPTION 


standing in hollow of crescent moon, look- 
ing upward, with hands on breast; above 
her head, a circle of stars; around her, 
cherubs and heads.—Ponz, Viage, xvii. 340 ; 
Curtis, 127. 

By Murillo, Wm. C. Cartwright, Aynhoe, 
Northamptonshire, England ; canvas, H. 5 
ft..6 in. x3 ft.6 in. The 
Virgin, looking up front, 
standing in hollow of cres- 
cent, with hands crossed 
on breast ; at her feet, five 
cherubs, one with a palm ; 
two others hold roses and 
lilies ; above, in each cor- 
ner, four heads. Brought 
from Spain about 1760 by 
John Blackwood, from 
whom, by inheritance. 


Mezzo. by McArdell.— y 3 
Curtis, 131. ae (2 
By Murillo, Earl of ; 


Northbrook, London; can- 
vas, H. 6 ft. 3 in. x 4 ft. 9 
in. The Virgin, standing 
in hollow of crescent, tips j/ 
of fingers touching before 
left shoulder; beneath, 
ten cherubs with a palm, 
flowers and square mirror; 
above, each side, six heads. 
Formerly in Convent of 
Carmelitas Descalzos, 
Madrid; brought from 
Spain by Lebrun. En- 
graved by M. 8S. Carmona; 
R. Graves.—C. Bermudez, 
ii. 63; Ponz, Viage, v. 248; 
Buchanan, Memoirs, i. 
255; Curtis, 131. 

By Murillo, Hermitage, St. Petersburg ; 
canvas, H. 7 ft. 9 in. x6ft.5in. The Vir- 
gin, standing on outside of a crescent, look- 

_ing up nearly front; tips of fingers touch 
before left shoulder ; beneath her feet four 
heads ; on right of these a cherub, and on 
left four others, three of whom hold flowers, 
palm, and olive ; in left upper corner, five 


ieee OY - < . \ : 
VESPA 
e ~ = NY 


heads, and opposite, two cherubs with a 
scarf. Carried to Venice by Marqués de 
Esquilache, Spanish Ambassador; became 
property of Cardinal Gregorio, who gave it 
to Pius VI., who gave it to his nephew, the 
Duke Braschi ; bought from Duke Braschi 
in 1842 for Hermitage. Repetition: Mrs. 


tl Wig 


Culling-Hanbury, Hertfordshire ; in family 
since 1766; bought in at Culling-Hardley 
sale (1860) at £9,000 ; engraved by Knolle. 
Curtis, 184-5 ; Hermitage Cat., 128. 

By Murillo, Louvre ; canvas, H. 1 ft. 2 in. 
x10 in. Called in Louvre Cat. Vierge glo- 
rieuse. The Virgin, about twelve years old, 
standing on a globe, looking down and 
front, tips of her fingers touching before left 


319 


CONCEPTION 


shoulder ; on left, three cherubs and three 
heads ; on right, two cherubs and five heads; 
below, on right, buildings faintly seen. 
Bought in 1855 from José de Mazarredo. 
Lithographed by Llanta.—Curtis, 131; Vil- 
lot, Cat. Louvre. 

By Murillo, Louvre ; canvas, H. 5 ft. 8 in. 
x9 ft.4in. The Virgin, looking down and 
front, standing in hollow of crescent moon, 
the tips of her fingers touching before left 
breast ; beneath, on left, six half-length wor- 
shippers, one pointing to Virgin; on right 
two cherubs bearing a scroll; above, each 
side, three heads. Painted about 1665 for 
S. M. de las Nieves (la Blanca), Seville; orig- 
inally semicircular, but enlarged; carried 
off by Marshal Soult ; purchased for Louvre 
of M. Lom (1817) for 6,000 fr. Engraved 
by Migneret.—C. Bermudez, 11. 52; Carta, 
62; Filhol, Musée, xi. 43; Villot, Cat. Louvre; 
Curtis, 130. 

By Murillo, Louvre ; canvas, H. 9 ft. x 6 ft. 
3 in. The Virgin, standing in hollow of cres- 
cent moon, looking upward to left, her hands 
on her breast ; surrounded by many cherubs 
and heads. Painted in 1678 for the Hospital 
de los Venerables Sacerdotes ; carried off by 
Marshal Soult, who offered it for sale in 
1823 at 250,000 fr.; sold at Soult sale (1852) 
to French Government for 615,300 fr. Gn- 
cluding government tax of 5 per cent.), the 
highest price ever paid for any picture up 
to that time. Copy, with changes, by Cle- 
mente de Torres, in Cathedral,Cadiz. Study, 
signed and dated 1664, in possession of 
Countess of Rosebery. Engraved by A. Le- 
fevre; Burdet; L. Massard ; Cousin ; W. 
French; Regnault (bust only); Mezzo. by 
H. Eichens ; Cornillet (2); lithographed by 
Llanta; Geoffroy; Pingot; Graille ; Jacott, 
and others.—Ch. Blanc, Ecole espagnole; 
Cean Bermudez, Carta, 93; Ponz, Viage, ix. 
123 ; Gaz. des B. Arts (1875); Curtis, 129 ; 
Villot, Louvre. 

By Murillo, Madrid Museum ; canvas, H. 
3 ft.2in.x2 ft. The Virgin, standing on a 
crescent with joined hands and eyes raised ; 
at her feet, three cherubs, one of whom 


holds her flowing mantle, others with palms 
and roses; two cherubs on left hold a mir- 
ror; above, many heads. Collection of Isa- 
bel Farnese.—Curtis, 129 ; Madrazo, 481. 
By Murillo, Madrid Museum ; canvas, H. 
6 ft. 9in.x4 ft. 9 in. The Virgin, looking 
front, standing in hollow of crescent moon, 
palms of hands touching before left shoul- 
der; beneath, four cherubs, with flowers and 
palms; above, four heads in each corner. 


Immaculate Conception, Murillo, Madrid Museum. 


From Palace of S. Ildefonso. One of the 
best representations of the subject. Litho- 
eraphed by F. de Craene ; A. Lemoine; H. 
Raunheim ; E. Lasalle; mezzo. by D. Mar- 
tinez.—Dohme ; Becker ; Curtis, 128; Ma- 
drazo, 481. 

By Murillo, Madrid Museum ; canvas, H. 
7 ft. 3 in. x3 ft. 11in. The Virgin, looking 


320 


CONCEPTION 


upward, standing in hollow of crescent 
moon, with hands vrossed on her breast ; five 
. cherubs grouped at her feet, one with lilies 
and roses, another with palm and olive 
branches. Brought to Madrid in 1816 from 
Palace of Aranjuez. Engraved by B. Vasquez; 
mezzo., J. Ballin. — Curtis, 128 ; Madrazo, 
482. 

By Murillo, S. Felipe Neri, Cadiz; figures 
full-length, life-size. The Virgin, standing 
on clouds, looking up to right, the palms of 
her hands touching before her left breast ; 
about her, heads and cherubs, two of whom 
extend their hands as if to crown her.—Pa- 
lomino, iii. 422; Curtis, 127. 

By Murillo, Seville Cathedral, Chapter 
Room ; wood, figures life-size. The Virgin, 
looking down to right, standing in hollow of 
crescent moon, the palms of her hands 
touching before her left breast; beneath, 
three heads and three cherubs with roses 
and palm; above these, on each side, two 
cherubs, and above them, eight heads. 
Painted about 1668 ; never engraved.—Cur- 
tis, 127. 

By Murillo, Seville Museum ; canvas, H. 
2 ft.x1 ft. 6 in. The Virgin, looking up to 
right, standing in hollow of crescent moon, 
the palms of her hands touching before her 
left shoulder; above her head, a circle of 
stars; beneath her feet, three heads, and 
three in each corner above. From Colégio 
de Maese Rodrigo, Seville.—Curtis, 127. 

By Murillo, Seville Museum ; canvas, H. 
12 ft.10 in.x 9 ft. The Virgin, looking 
downward, standing on a globe, her hands 
—the palms touching —raised above left 
shoulder ; one cherub on right, three on leit. 
Painted in 1645-48 for church of convent of 
S. Francisco, Seville. Engraved by J. M. 
Martin ; lithographed by G. Weinhold.—C. 
Bermudez ; Carta, 97; Quilliet ; Curtis, 126. 

By Murille, Seville Museum ; canvas, H. 
7 ft. 4in.x5 ft.10in. The Virgin, looking 
upward to right, standing in hollow of a 
crescent; on left, beneath, three heads and 
four cherubs, two of whom hold a round 
mirror, a third with a palm branch ; above, 


five heads ; on right, beneath, a cherub with 
roses; above, three cherubs with a scarf. 
Painted about 1676 for Capuchin Convent, 
Seville ; placed in Museum in 1840. Repe- 
tition, with slight changes : Samuel Sandars, 
Tunbridge Wells, Kent.—Cean Bermudez, 
Carta, 93; Curtis, 126. 

By Murillo, Seville Museum ; canvas, arched 
top, H. 9 ft. 2in.x 6 ft.3 in. The Virgin, 
looking upward, standing in hollow of a cres- 
cent ; on each side, three cherubs and some 
heads ; above, the Father Eternal with arms 
outstretched ; beneath, the dragon on a sec- 
tion of the globe. Painted about 1676 for 
Capuchin Convent, near the Cordova Gate, 
Seville ; removed on its suppression in 1835 
to Cathedral; thence in 1840 to Museum. — 
Cean Bermudez, Carta, 88; Ponz, Viage, ix. 
138 ; Curtis, 124. 

By Gio. Andrea Sirani, Bologna Gallery ; 
canvas, H. 7 ft. 7 in. x 4 ft. 10 in. The 
Virgin, surrounded by a glory of angels, 
standing upon the crescent moon, which 
rests upon the head of the serpent coiled 
round the globe of the earth; above, the 
Eternal, with his hands upon her shoulders. 
Formerly in Ch. dell’ Osservanza. Engraved 
by F. Rosaspina.—Pinac. di Bologna, PI. 
28. 

By Spagnoletto, Madrid Museum ; canvas, 
H. 7 ft. 3 in. x 5 ft. 3 in. The Virgin stand- 
ing above the moon, trampling upon the 
dragon, in a glory of light and clouds with 
cherubim and seraphim; below, a land- 
scape with the sea in distance, and at- 
tributes of the Virgin. Bought by Ferdi- 
nand VII. in 1833.—Madrazo. 

By Velasquez, Sir Bartle Frere Collection, 
London ; H. 4 ft. 6in. X 8 ft.4in. The Vir- 
gin, her head surrounded by a glory of stars, 
with her hands joined and long hair falling 
on her shoulders, stands on a transparent 
globe, around and through which are seen a 
temple, ship, trees, etc. Formerly in Con- 
vent of Carmelitas Calzados, Seville ; bought, 
with St. John Evangelist, in 1809, from Don 
Manuel Lopez Cepero, President of Acad- 
emy of Fine Arts, Seville. First manner.— 


821 


CONCERT 


Stirling, ii. 1450; Jameson, Madonna, 49 ; 
Curtis, 3. 
Subject treated also by Giorgio Vasari, 


with his bow to a bar of music, concerning 
which another is questioning him ; a third is 
tuning a lute, and the fourth, a child, holds 


Lucca Gallery ; Benozzo Gozzoli, Pisa Gal- 
lery; Piero di Cosimo, Uffizi, Florence ; 


rs) 
z= 
/ 


i 
west 
— 
e 


Girolamo Mazzuola, Parma Gallery ; Dosso 
Dossi, Dresden Gallery; Carlo Maratti, 
Vienna Museum; Sassoferrato, Brera, Mi- 
lan; Juan de Juanes, Granada Museum ; 
Antonio Palomino, ib.; Agostino del Cas- 
tillo, Cordova Cathedral ; Valdes Leal (2), 
Convent of La Merced, Seville; Vincenzo 
Carducci, Fomento Museum, Madrid; G.| 
B. Tiepolo, ib.; Tintoretto, Church of La 
Madonnetta, Genoa; G. B. Paggi, Capuchin 
Church, ib.; Rubens, Madrid Museum ; Pi- 
chon (Salon, 1868). 

CONCERT, Michelangelo da Caravaggio, 
Louvre, Paris ; canvas, H. 4 ft. x 5 ft. 7 in. 


Eight musicians, half-length, standing be- | 
fore a desk, playing different instruments ; | [ 


an organist, seated upon a stool, accompanies 
them.—Filhol, iv. Pl. 248; Landon, Musée, 
xii. Pl. 70. 

By Domenichino, formerly at St. Cloud ; 
canvas, H. 4 ft. 10 in. x 5 ft. 5in. Four 
young men standing around a table, on 


which lie a guitar and music books ; one, 
richly dressed, holds a violin and points 


a violin. Painted at Rome for Cardinal Lu- 
dovisi ; sold by his nephew, Prince Ludovisi, 
to M. de Noguet, who took 
it to France; passed, with 
Domenichino’s St. Cecilia, 
through hands of Jabach, to 
Louis XTV. Burned with Cha- 
teau in 1870 ?—Musée fran- 
gais, 1. 

By Giorgione, Pitti, Flor- 
ence ; canvas, H. 3 ft. 6 in. 
x4 ft. Figures half-length. 
An Augustinian monk sits at 
a harpsichord, with his fin- 
gers on the keys; he has just 
struck a chord, and turns to 
his companions, a clerk, bald, 
dressed in white and black, 
with a lute, and a young 
man in Spanish costume, 
with long hair, and cap with 
white feathers. No simpler yet more effec- 
tive picture than this is to be found among the 
masterpieces of the 16th century. Figures 
long thought to be portraits of Calvin, 
Luther, and Melancthon. Bought in 17th 


century by Leopold of Tuscany from Paolo 
del Sera. Copy in Palazzo Doria, Rome. 
Engraved by Rossi.—C. & C., N. Italy, i 
144; Gal. du Pal. Pitti, i. Pl 5. 


822 


CONCERT 


By Gerard Terburg, Louvre, Paris ; wood, 
H. 1 ft. 6 in. x1 ft. 5 in.; signed. A young 
woman, seated near a table, is singing, 
holding a sheet of music in one hand and 
beating time with the other; at left, be- 
hind the table, a woman standing accom- 
panies her with a sistrum ; at right, a page 
brings a glass upon a silver tray.—Villot, 
Cat. Louvre. 

CONCERT, RUSTIC, Giorgione (?), Lou- 
vre; canvas, H. 5 it. 7 in. x4 ft. 3 in. A 
nude woman, with back to spectator, sits 
under atree with two young men, one 
holding a lute ; at the left, a 
scantily clad woman pours 
water into a stone tank from 
a glass vase ; in glade beyond, 
a shepherd. Probably by an 
imitator of Sebastian del Pi- 
ombo. In collection of Charles 
I. of England ; acquired by 
Jabach, who sold it to Louis 
XIV. Engraved by N. Dupuy; 
Hoelzel; J. Falck.—cC. & C., 
N. Italy, 1. 146 ; Cab. Crozat, 
u.; Musée frangais, i1.; Filhol, 
ili. 218: Landon, Musée, vii. 
Pl. 59. 

CONCERT OF WOMEN, 
Tintoretto, Dresden Gallery ; 


um ; canvas, H. 3 ft. x 4 ft.4in. To settle 
the differences between the Protestants and 
the Catholics a conference was held at Poissy, 
in 1561, in the presence of Catherine de 
Medicis and the young King Charles IX. 
Theodore Beza appeared for. the Protest- 
ants. Salon, 1840. 

CONFERENCE, RETURN FROM, Gus- 
tave Courbet, Louvre ; canvas. A party of 
jolly monks, returning from the conference, 
are evidently under the influence of wine. 
One, mounted upon a donkey, is held in his 
seat by two of his comrades, while others fol- 


canvas, H. 4 ft. 8 in.x6 ft. 11 
in. Several young women, 
nude, playing musical instruments. From 
Prague Gallery. Restored by Palmeroli. 

CONDEMNED MAN, LAST DAY OF, 
Michael Munkdcsy, Mrs. W. P. Wilstach, 
Philadelphia. Scene: interior of a Hunga- 
rian prison. A condemned man receiving, 
on the day before execution, according to 
local custom, visits from his townsmen, who 
bring offerings of money to pay for masses 
for his soul. Etched by A. Mathey (1883). 
Photogravure in Art Treasures of America. 
—Art Treas. of Amer., iii. 30. 

CONEGLIANO, BATTISTA DA. 
Cima da Conegliano. 


CONFERENCE AT POISSY, Joseph 


See 


Nicolas Robvert-Fleury, Luxembourg Muse- | 


Rustic Concert, Giorgione, Louvre, 


low in a straggling procession. In fore- 
eround, left, are a peasant and his wife, the 
latter kneeling devoutly, the former standing 
in a defiant and contemptuous attitude. 
Painted in 1863. Purchased at Lepel-Coin- 
tet sale for 15,600 franes. 

CONFESSORS, RIVAL, Eduardo Zama- 
cois, J. J. Astor, New York ; canvas, H. 1 ft. 
6 in. x 2 ft. The interior of a church, with 
altar at left, the candles on which are being 
lighted by a Benedictine monk ; at right, 
two. confessionals, a monk of same order in 
each box; one, austere and grim, has no 
penitents before him, while the other, with a 
round, benevolent face, is thronged. Salon, 
1869 ; sold to John Taylor Johnston ; at 


823 


CONGNET 


his sale (1876), $6,500. Photogravure in 
Art Treasures of America.—Art. Treas. of 


Amer., 11. 6. 

CONGNET, GILLIS, called Gillis met de 
Viek, born at Antwerp in 1535, died at Ham- 
burg, Dec. 27, 1599. Flemish school ; his- 
tory and portrait painter, pupil of Antonius 
Palermo and of Lambert Wenslyns, then 
spent several years in Italy. Master of Ant- 
werp guild in 1561, dean in 1584-85. The 
siege of Antwerp caused him to remove to 
Amsterdam, whence he afterwards went to 

Hamburg. 

Works: 
CG ‘Ont Gj nN et Ci) Portrait of 

Pierson la 

Hues, St. 
George (1581), Antwerp Museum.—Allgem. 
d. Biog., iv. 487; Biog. nat. de Belgique, 
iv. 269 ; Cat. du Musée d’Anvers (1874), 90; 
Van den Branden, 271. 

CONINCK, DAVID DE, born in Antwerp 
in 1636, died in Rome in 1687. Flemish 
school. Animal and still-life painter, pupil 
of Peeter Boel ; master of the guild in 1663. 
After travelling through Germany and 
France, settled in Rome, where he was re- 
ceived into the guild under the name of Ra- 
melaar (rabbit), owing to the frequent oc- 
currence of that animal in his pictures. 
Works: Bear Hunt, Stag Hunt, Amsterdam 
Museum ; Garden with Domestic Animals, 

Davin. ve Convince kK 
Ghent Museum; Dead Ducks on a Tree, 
Museum, Vienna; Dead Game, Liechtenstein 
Gallery, ib.—Michiels, x. 327. 

CONINCXLO (Coninxloo, Conincxloy), 
GILLIS VAN, born in Antwerp, Jan. 24, 
1544, died in Amsterdam after 1604. Flem- 
ish school; landscape painter, pupil of 
Pieter Coecke the younger, then of one 
Leenaert Kroes, and of Mostaert; received 
into the guild in 1570. After travelling in 
France, he returned to Antwerp, but during 
the siege left for Zeeland, and then lived 
for ten years in Frankenthal, Palatinate, 


whence he moved to Amsterdam. At first 
he painted landscapes of extraordinary size, 
in which Marten van Cleef supplied the 
figures ; afterwards smaller ones in the man- 
ner of Vinckebooms. Works: Jonah preach- 
ing to the Ninevites (1585), Copenhagen 
Gallery ; Landscapes with Figures and Birds 
(1598, 1604), Liechtenstein Gallery, Vienna. 
—Allgem. d. Biogr., iv. 488; Biog. nat. de 
Belgique, iv. 8359; Journal des B. Arts (1870), 
50; Van den Branden, 306. 

CONINXLO (Conixlo), JAN VAN, born 
at Brussels about 1489, died in Antwerp (?). 
Flemish school, history painter; son of a 
painter of the same name; removed to Ant- 
werp, where he was received into the guild 
in 1552, and became a citizen in 1555. His 
works were formerly attributed to Gillis van 
C. Works: Triptych with Scenes in Life of 
St. Ann (1546), Birth of St. Nicholas, Death 
of St. Nicholas, Christ among the Doctors, 
Marriage at Cana, Brussels Museum. By 


Cornelis van Conixlo, otherwise unknown, is - 


a picture in the same museum: Parentage of 
the Virgin (signed and dated 1526).—Biog. 
nat. de Belgique, iv. 357; Feétis, Cat. du 
Mus. royal, 103. 

CONRAD, ALBERT, born at Torgau, 
Feb., 1837. Genre and architecture painter, 
mostly self-taught. Travelled in Tyrol, West- 
phalia, and on the Rhine. Studio in Berlin. 
His genre scenes are mostly humorous. 
Works: Well in Castle-Yard at Merseburg ; 
Yard of Castle Hartenfels near Torgau, 
Barred, Pay Toll! Hiding Place; Goose 
Market in Berlin.—Miiller, 111. 

CONRAD, KARL EMANUEL, born in 
Berlin, March 30, 1810, died in Cologne, 
July 12, 1873. Architecture painter ; pupil 
of Berlin Academy, then in 1835-39 of 
Disseldorf Academy. Taught perspective 
there, and was professor at the Realschule. 
Works : St. Quirin’s Church in Neuss, Inter- 
ior St. Severin’s in Cologne (1837) ; View of 
Wetzlar (1840); Mentz Cathedral (1841) ; 


Cologne Cathedral (1842); Replica in Ravené 


Gallery, Berlin ; Custom House in London 
(1852); Interior of Cologne Cathedral (1871). 


324 


es eee 


CONRADER 


—Allgem. d. Biogr., iv. 441; Kunst-Chronik, 
vii. 675 ; Brockhaus, iv. 564. 

CONRADER, GEORG, born in Munich 
in 1838. History painter, pupil of Munich 
Academy and of Piloty ; was in 1860 profes- 
sor at the Art School, Weimar, and in 1862 
professor at the Munich Academy. Works: 
Tilly in Gravedigger’s House in Leipsic 
(1860); Destruction of Carthage (1861), Max- 
imilianeum, Munich; Tasso in Prison, Char- 
lotte Corday (1869) ; Mary Stuart and Rizzio 
(1876); Death of Joseph II. (1874); Meeting 
of Joseph II. and Pius VI. in 1782. In fres- 
co: Foundation of Academy of Sciences, 
Natural Museum, Munich.—Brockhaus, iv. 
565; Miller, 111. 

CONSONI, NICCOLA, born at Rieti, Pe- 
rugia, in 1814. History painter, pupil of 
Perugia Academy under Giovanni Sangui- 
netti and in Rome of Tommaso Mainardi. 
Works in fresco: Scenes from New Testa- 
ment (1840), Vatican, Rome; Minerva’s Con- 
test with the Pierides (1845), Library, Pa- 
lazzo Corsini, ib.; Raphael’s Hours, Buck- 
ingham Palace, London ; Crucifixion, Ascen- 
sion, The Patriarchs (1861), Prince Albert’s 
Mausoleum, Osborne.—Miiller, 112. 

CONSTABLE, JOHN, born at East Berg- 
holt, Suffolk, June 
11, 1776, died in 
London, March 30, 
1837. Landscape 
painter, pupil of 
Royal Academy in 
1799, and later of 
Joseph Farrington 
and R. R. Reinagle. 
After painting por- ; 
traits and history, 
he turned to landscape art as his real voca- 
tion, exhibiting his first picture in 1802. He 
did not, however, become a member of the 
Royal Academy until 1829 (A.R.A., 1819), 
and never during his lifetime enjoyed any 
ereat popularity in his native country. In 
France, on the contrary, he found early rec- 
ognition, and is of all British painters the 
most highly esteemed, especially since he 


has become more widely known through the 
two landscapes, the Rainbow and Weymouth 
Bay, presented to the Louvre by Mr. Wilson, 
in 1873. The influence he exerted upon the 
modern school of French landscape paint- 
ing, which is incontestable, fully entitled him 
to a place in the great national French col- 
lection. While there are many landscape 
painters who can paint nature in her tran- 
quil moods, when she sits motionless as a 
model, there are but few who, like Con- 
stable, can fix upon canvas the coming storm, 
the rising wind, and the rapidly changing 
sunset. In treating masses of cloud driving 
across the sky or brooding over the tree- 
tops he has no rival. His pictures are some- 
times heavily loaded, his foregrounds not 
free from spottiness, but their brilliancy, 
vigour of tone, and truth in representing 
accidental effects is such as to condone all 
shortcomings. Works: Cornfield (1826); 
Valley Farm (1835), Cornfield with figures 
(sketch), Barnes Common, National Gallery, 
London; Weymouth Bay (1827), Cottage 
(1818), Rainbow (sketch of Salisbury Cathe- 
dral), Landscape (sketch of Hampstead 
Heath), Louvre ; Salisbury Cathedral (1823), 
Dedham Mill (1820), Hampstead Heath (2, 
1827 and 1830), Boat Building, Water Mead- 
ows, S. Kensington Museum; Salisbury 
Cathedral, Yarmouth Pier (1831).— Leslie, 
Memoir (London, 1842); Ch. Blanc, Keole 
anglaise; I’. de Conches; Lucas, English 
Landscape Scenery from Constable’s pictures 
(London, 1855); Art Journal (1855), 9; Sand- 
by, 11. 54; Portfolio (1873), 93, 108, 117. 
CONSTANCE DE BEVERLEY, TRIAL 
OF, Toby Rosenthal, Irving M. Scott, San 
Francisco ; canvas, H. 5 ft. x 8 ft. Scene 
from Marmion, Canto II. Constance, who 
ran away from her convent to follow Marmi- 
on, is tried for her crime before the holy 
fathers in the subterranean dungeons of the 
monastery and condemned to be immured 
alive in the wall.—Painted in 1883. 
CONSTANT. See Benjamin-Constant. 
CONSTANTINE, BAPTISM OF, Raphael 
(?) and Il Fattore, Sala di Costantino, Vati- 


825 


CONSTANTINE 


can ; fresco. Constantine, kneeling at the 
font in the Baptistry of the Lateran, is bap- 
tised by Pope Sylvester (portrait of Clement 
VII.) in presence of Church officials, pages, 
and a Roman family of converts ; Crispus, 
his son, awaits his turn to receive baptism. 
Designed by Raphael; painted in 1524 by 
Il Fattore, who made unjustifiable devia- 
tions from the original drawing. The fig- 
ure in black dress and velvet cap is his own 
portrait ; one in black, leaning against a 
column, is Baldassare Castiglione. Passavant 
says the composition is not by Raphael. It 
is the weakest of the frescos in the hall. 
Engraved by Fr. Aquila, Salandri, etc.— 
Passavant, li. 8302; Vasari, ed. Mil., v. 530. 
CONSTANTINE, DONATION OF, 2aph- 
ael (?), Sala di Costantino, Vatican ; fresco. 
Constantine’s gift of Rome to Pope Sylvester. 
The Pope, seated on a throne in the old 
Basilica of St. Peter, blesses the kneeling 
Emperor, who presents him with a golden 
figure representing Rome ; among the many 
represented as attendants are Giulio Roma- 
no, Baldassare Castiglione, and the poets 
Pontano and Murello. Designed by Raph- 
ael; painted about 1524 by R. del Colle ; 
some additions by G. Romano. Engraved 
by B. Franco; by Fr. Aquila, Alogedo 
Fabri, Landon.—D’Anvers, 95; Passavant, 
ii. 303 ; Vasari, ed. Mil., v. 530. 
CONSTANTINE AND HELENA, GLORY 
OF, Palma Vecchio, Brera, Milan ; wood, 
three panels, life-size. SS. Constantine and 
Helena supporting the cross, in middle ; 
SS. Roch and Sebastian in landscapes, at 
sides. Presented to Brera by Duke Melzi. 
C. & C., N. Italy, ii. 467. | 
CONSTANTINE, VICTORY OF, Raphael 
and Giulio Romano, Sala di Costantino, 
Vatican ; fresco. 'The battle between Con- 
stantine and Maxentius at the Milvian 
Bridge (Ponte Molle), near Rome (a.p. 312). 
One of the largest historical subjects ever 
painted. Represents the crisis of victory, 
when Constantine, on horseback, is aiming a 
spear at Maxentius, who struggles with his 
horse in the Tiber; in background, the 


Monte Mario; above, three angels, with 
swords. 
after his death by G. Romano. Engraved 
by G. B. Cavalleriis, C. Cort, Bonasone, 
Scalberge, and Aquila.—Vasari, ed. Mil., iv. 
369; v. 529; Kugler (Eastlake), ii. 438 ; 
D’Anvers, 94 ; Passavant, 11. 300. 

CONSTANTINE, VISION OF, Raphael 
and Giulio Romano, Sala di Costantino, 
Vatican ; fresco. Constantine, standing on 
a platform at left, with a Roman captain 
beside him, relates his vision to four 
standard-bearers ; above, the apparition of 
the shining cross, and below, soldiers in 
surprise and terror hurrying among tents ; 
in background, the mausoleum of Hadrian, 
pyramid of Caius Cestius, and other ancient 
monuments. Designed by Raphael ; paint- 
ed by G. Romano, who introduced (in the 
corner) the dwarf Gradasso da Norcia, men- 
tioned in poetry of Berni. Engraved by 
Aquila, Salandri, and Landon.—Passavant, 
ii. 299; Vasari, ed. Mil, v. 529. 


CONSTANTINOPLE, ENTRY OF CRU- 


SADERS INTO, Eugéne Delacroix, Ver- 
sailles Museum; canvas. Capture of the 
city by the Crusaders in 1204. In centre, 
Baldwin, Count of Flanders, mounted and 
followed by knights and equerries bearing 
pennons, is riding in front of a palace be- 
tween kneeling women and old men who 
implore his pity; in background, the Bos- 
porus and the houses and walls of the city ; 
in middleground, right, a melée in the 
streets. Salon, 1841; Exposition Univer- 
selle, 1855. Engraved by Frilley.—Gal. de 
Versailles, i. Pl. 41; Larousse, iv. 1032. 
CONSULTATION, Pieter de Hooch, for- 
merly in Narischkine Gallery, St. Peters- 
burg ; wood, H. 2 ft. 3 in.x1 ft. 10 in. In- 
terior of a room; four figures. A gentle- 
man, in a black velvet coat, is leaning upon 
a table with his hand on the wrist of a 
lady sitting beside him ; a woman, in a red 
jacket bordered with ermine and a blue 
skirt, stands by the window, filling a glass, 
and a second gentleman stands on the fur- 


ther side of the table, with a pipe in his | 


826 


Designed by Raphael; painted. 


Se ee ee re 


CONTARINI 


hand. Delessert sale, Paris (1869), 150,000 
francs ; Narischkine sale, Paris (1883), 
_ 160,000 franes—Smith, iv. 229; Gaz. des B. 
Arts (1869), i. 202; L’Art (1883), i. 118. 
CONTARINI, GIOVANNI, Cavaliere, 
born in Venice in 1549, died in 1605. Vene- 
tian school; history and portrait painter ; 
contemporary of Palma, studied works of 
Titian and Tintoretto. Went to Germany 
and painted much at court of Rudolph IL, 


by whom he 

was knighted. /, ; d 
Works: Res- COM GSU 
urrection, S. Francesco di Paola, Venice ; 
Crucifixion, Chiesa della Croce, Venice ; St. 
Jerome, Brera, Milan ; St. Sebastian, Berlin 
Museum ; Baptism of Christ, Vienna Muse- 
um ; his own portrait, Uffizi, Florence. 

CONTI, TITO, born in Italy ; contempo- 
rary. History and genre painter; lives in 
Florence. Works: Wine Taster, Samuel 
Hawk Collection, New York; Meeting of 
Dante and Beatrice; Meeting of Petrarch 
and Laura; Dante and his Friends; Lute 
Player (1883). 

CONVENT, RETURN TO, Eduardo 
Zamacois, R. L. Cutting, New York; canvas. 
Scene: entrance to a Spanish Franciscan 
monastery, with mendicant monks return- 
ing from a begging expedition to the village, 
the roofs of which, covered with snow, are 
seen in the background; several donkeys 
are tied up to rings in the wall, but one 
balking animal is pulling an exasperated 
monk backwards, his track making a slide 
in the snow. Photogravure in Art Treas- 
ures of America.—Art Treas. of Amer., ii. 33. 

CONVOCATION OF CLERGY, Sir John 
Gilbert, Royal Academy, London ; canvas. 
A meeting of dignitaries of the Roman 
Church, listening to a monk who stands de- 
fending some point of doctrine from a vol- 
ume held in his hand; background, tapes- 
try hangings representing a triumphal 
church procession. Painted in 1870-71; 
presented to Academy as his diploma pict- 
ure. Etched by L. Flameng in Portfolio.— 
—Portfolio (1878), 113. 


CONZ, GUSTAV, born at Tiibingen in 
1832. Landscape painter, pupil of Stutt- 
gart Art School under Funk; studied in 
Munich in 1856-58, and in Disseldorf, in 
1862, under Oswald Achenbach; then for 
one year in Rome, and in 1865 became pro- 
fessor at the Katharinen Stift in Stuttgart. 
Works: View in Upper Bavaria (1862); Coast 
of Terracina ; View of Aricia ; View near Ole- 
vano ; View of S. M. della Vittoria in Rome. 
—Miiller, 112. 

COOK, H., born in England ; contempo- 
rary. Landscape painter. Exhibits chiefly 
at Grosvenor Gallery. Works: Lago Maggi- 
ore (1880); View in Venice (1881); Church 
and Bridge of St. Polo, San Giorgio—Venice 
(1882); Sunset—Venice (1883). 

COOKE, EDWARD WILLIAM, born in 
London in 1811, died near Groombridge, 
Jan. 4, 1880. Son and pupil of George 
Cooke, engraver (1781-1834); studied archi- 
tecture and perspective under the elder Pu- 
gin; first exhibited at Royal Academy in 
1835, Honfleur Fishing Boats, and Hay- 
Barge off Greenwich. Two years later he 
went to Holland, which he re-visited many 
times ; travelled also in Spain, France, Italy, 
and Egypt, painting many architectural sub- 
jects, landscapes, and marine views. Became 
A.R.A. in 1851, and R.A. in 1864. His Dutch 
Boats in a Calm and The Boat House are in 
the National Gallery ; others in 8S. Kensing- 
ton Museum.—Cats. Nat. Gal. and R. Acad.; 
Sandby, ii. 327; Graves, 52. 

COOMANS, JOSEPH, born at Brussels 
in 1816. History and genre painter ; first 
instructed in Ghent by Hasselaere, a medi- 
ocre artist, then pupil of Antwerp Academy 
under N. de Keyser and Wappers ; went with 
the French army to Algiers, where he spent 
several years, then visited Italy, Turkey, 
Greece, and the Crimea; in Italy again in 
1857, since when, attracted by the Pompeian 
paintings, he has painted almost exclusively 
subjects from antiquity. Works: Conquest 
of Jerusalem by the Crusaders (1841); Battle 
of Ascalon (1842); The Deluge ; Landscape 
in Province of Constantine ; Emigration of 


827 


COOPER 


Arab Tribes ; Dancing Arab Women ; Defeat 
of Attila (1848), City Hall, Brussels; Battle 
of the Alma (1855); Feast of the Philistines 
(1856); Lesbia ; The Source; Last Days of 
Pompett (1863); Poet’s House in last Hour of 
Pompeii (1869); The Delinquent; Phryne ; 
Glycera; Live Love Letter (1873) ; Inter- 
ested Kiss (1876); Dangerous Passage ; 
The First Step (1877); An Arrest (1880); 
Dance at Three (1881); The Dream (1882); 
Love as Pilot (1883).—Miller, 113; N. illustr. 
Zeitg. (1880), i. 343. 

COOPER, ABRAHAM, born in London, 
Sept. 8, 1787, died at Greenwich, Dec. 24, 
1868. Animal and battle painter, self- 
taught. Began as an assistant at Astley’s 
theatre,and when twenty-two years old paint- 
ed a favourite horse of Sir H.Meux with such 
success that he continued and became the 
best horse and battle painter of his day. 
His works, though flat and leaden in colour 
and of small size, were popular ; many have 
been engraved. Elected an A.R.A. in 1817, 
and R.A. in 1820. Works: Tam O'Shanter 
(1814); Marston Moor (1817); Cromwell at 
Marston Moor (1821); Rupert’s Standard 
(1822); Bosworth Field (1825); Richard I. 
and Saladin at Ascalon (1828); Bothwell 
seizing Mary Queen of Scots (1831); Retreat 
at Naseby (1833); Hawking in the Olden 
Time (1834); Death of Harold (1836); Battle 

of Waterloo 

(1838); Cavalier 

(1842); Prince 

Rupert at New- 

ark, Returning 

’ * from DeerStalk- 

; ing (1844); 

Rout at Marston Moor (1852); Battle of 

Assye (1853); Battle of Naseby (1862) ; 

Pride of the Desert.—Sandby, i. 369; Art 

Journal (1863), 89 ; Wilmot-Buxton, 166; 
Redgrave ; Graves, 52. 

COOPER, SAMUEL, born in London in 
1609, died there, May 5, 1672. Pupil of his 
elder brother, Alexander Cooper, and of his 
uncle, John Hoskins; also studied the works 
of Van Dyck and became famous as a minia- 


ture painter. He lived much in France and 
Holland, and painted many eminent persons, 
among whom were Charles II., his Queen, 
the Duke of York, and most of the Court; 
also several portraits of Oliver Cromwell, 
two of which are in possession of the Duke 
of Buccleugh, and one in the National Por- 
trait Gallery. Alexander Cooper (flourished 
1650-60), brother of Samuel, was limner to 
Queen Christina of Sweden. — Redgrave ; 

I’, de Conches, 46. : 
COOPER, THOMAS SIDNEY, born at 
Canterbury, Eng- 


land, Sept. 26, 1803. 
Landscape and cat- 
tle painter; pupil 
of Royal Academy, 
London. Went to 
France in 1827, and 
settled in Brussels, 
where he was a pu- 
pil of Verboeckhoy- 
en a few months. In 


land, and in 1831 returned home and ex- 
hibited at the Royal Academy in 1833. 
Elected an A.R.A. in 1845, and R.A. in 1867. 
The landscapes in several of his pictures 
were painted by Fred. R. Lee. Works: 
Mountains in Cumberland (1841); Ettrick 
Shepherds (1842); Cattle at Pasture (1843) ; 
Summer Evening (1846); Charge of House- 
hold Brigade—Waterloo (1847); Fordwich 
Meadows—Sunset (1850); Crossing New- 
biggin Moor in a Snow-Drift (1860); Snowed 
Up (1867); Milking Time in the Meadows 
(1869); Passing Shower (1870); Children of 
the Mist (1872); Monarch of the Meadows 
(1873); God’s Acre (1875); A Cool Retreat 
(1877); Victor’s Shout (1879); Isaac’s Sub- 
stitute, Summer Evening in the Marshes, On 
Deal Common (1880); Scape Goat (1881); 
Summer Afternoon (1882); Brook in the 
Meadows, In the Rob-Roy Country (1883). 
—Art Journal (1849), 336; (1861), 133; 
Sandby, ii. 215. 

COPE, CHARLES WEST, born at Leeds, 
England, in 1811. 


828 


1830 he visited Hol- 


History and portrait 


ee ee ee ee 


es ni eee il 4 ae Poe 


7 
; 


COPHETUA 


painter; son and pupil of Charles Cope, land- 
scape painter, and student in Royal Acade- 
my schools. After making studies in Paris, 
Venice, Florence, Rome, and Naples, he re- 
turned in 1836 to England. Received in 1843 
prize of £300 for his cartoon First Trial by 
Jury; elected an A.R.A. in 1843, and R.A. 
in 1848. He has painted eight frescos in 
the Houses of Parliament. Is a fine etcher. 
Works: Nereids (1836); He ever Liveth to 
make Intercession (1840); Whoever shall 
Give to Drink (1844); Last Days of Wolsey 
(1848); King Lear (1850); Royal Prisoners 
at Carisbrook (1855); Pilgrim Fathers (1857); 
Shylock and Jessica (1867); Disciples at Em- 
maus (1868); Yes or No? (1873); Taming the 
Shrew (1874); Anne Page and Slender (1875); 
Selecting Pictures for the Royal Academy 
Exhibition (1876); Bianca’s Lovers (1878); 
A Country Club (1879); Far Away Thoughts 
(1881).—Art Journal (1869), 177; Sandby, 
uu. 181; Graves, 53. 

COPHETUA AND THE BEGGAR- 
MAID, Burne-Jones, London; canvas, H. 
12 ft.x9 ft. Illustration of the legend of 
the African King Cophetua, who wedded 
the beggar-maid, as told in the old ballad in 
Percy’s Reliques (I. ii. 6), and more lately 
by Tennyson in “The Beggar-Maid.” The 
beggar-maid, Penelophon, clad in a simple 
robe of gray stuff, with her bare feet timour- 
ously drawn under her, is sitting, half dis- 
mayed and half content, on the purple 
cushions of the throne, while the king, radi- 
ant in steel armour and jewelled robes, sits 
on the step at her feet, holding the crown in 
his hands and looking up into her face with 
adoring love and wonder ; above, in a gal- 
lery, two chorister boys are making music. 
Grosvenor Gallery, 1884.—London Times, 
May 6, 1884, 6. 

COPLEY, JOHN SINGLETON, born in 
Boston, Mass., July 3, 1787, died in Lon- 
don, Sept. 9, 1815. Although Copley is 
spoken of as self-taught, there can be no 
doubt that his talent, which showed itself at 
an early age, was fostered and trained by 
his stepfather, Peter Pelham, the well-known 


painter and engraver, who died in 1751, 
about which time Copley peson to paint 
portraits. One of 
these, of General 
Brattle (W. Apple- 
ton, Boston), has 
more historical than 
artistic value. Im- 
proving through 
steady practice and 
observation, he soon 
rose above the stand- 
ard of Smybert and 
Blackburn, and painted a series of portraits 
of members of the leading Boston families, 
in a hard, dry style, whieh is redeemed by 
the undeniably well-bred air given to his 
sitters, and his very clever manner of treat- 
ing dress accessories, such as silks, satins, 
etc. The portrait of his half-brother, Henry 
Pelham, known as the Boy and the Squirrel 
(James Amory, Boston), was sent to Eng- 
land and exhibited (1760) at Somerset 
House, and was much commended by West 
and other good judges. In 1774 he went to 
Rome, and in 1775-76 settled in London 
and began a career of uninterrupted suc- 
cess. In 1777 he was elected an A.R.A., 
and in 1779 R.A. Patronized by the royal 
family and the nobility, he executed many 
portraits and historical pictures, such as the 
Death of Chatham (1779-80), Death of Major 
Pierson (1783), Siege of Gibraltar (1789-90), 
National Gallery ; the Daughters of George 
I. (Buckingham Palace), the so-called 
Family Picture (Charles Amory), the paint- 
er’s masterpiece, the Red-Cross Knight 
(1788, S. G. Dexter), Mrs. Derby as St. 
Cecilia (W. Appleton), and Mrs. D. D. 
Rogers (1789, H. B. Rogers), which may 
be regarded as one of his best, if not his 
very best portrait. Copley’s best works 
were collected by his son, Lord Chancellor 
Lyndhurst, and many of them have been 
engraved.—A. T. Perkins, Life, etc., of J. S. 
Copley (1873); Memorial History of Boston 
(1881), iv.; Mrs. M. B. Amory, Life of J. S. 
Copley (1882); Cunningham (1832); Tuck- 


329 


COPPO 


erman, Book of the Artists (1867); Sandby, 
i. 189. 

COPPO DI MARCOVALDO, of Flor- 
ence, 13th century. His Madonna en- 
throned, called ‘‘del Bordone,” in S. M. dei 
Servi, Siena, said to have been painted in 
1261, is in the defective manner of the 
period. The colours are darkened by age 
and restoration. —C. & C., Italy, i. 200; 
Vasari, ed. Mil., i. 265, 266. 

COQUES (Cocx), GONZALES (Gon- 
salve), born in 
Antwerp in 1618, 
died there, April 
18, 1684. Flem- 


trait painter, pu- 
pil of Peeter 
Brueghel (the 
3d) in 1626-27, 
later of David 
Ryckaert, the el- 
der, whose 
daughter he married, in 1643; was free of 
the guild in 1640, and its president in 
1665-66 and 1680-81. His portraits, which 
are chiefly small, are in the manner of Van 
Dyck, whence he is sometimes called the 
Little Van Dyck. Clear and harmonious 
in his warm, brownish flesh-tones, his touch 
is broad and spirited ; the backgrounds are 
generally the work of other painters. Works: 
Family Group, Portrait of a Lady, National 
Gallery, London; Verhelst Family, Bucking- 
ham Palace; Music Lesson, Family Group, 
Family Portraits, Sir R. Wallace; Family 
Group around Piano, Lord Taunton, Lon- 
don; Elector Frederic of the Palatinate and 
Wife, David Teniers, Lord Ellesmore; Fam- 
ily in Dutch Garden, Mr, John Walter, Bear- 
wood; Picture Gallery with forty-four Artists’ 
Portraits, Amsterdam Museum; Female Por- 
trait, Antwerp Museum ; Christ with Mary 
and Martha, Arenberg Gallery, Brussels ; 
Young Scholar and Wife, Cassel Gallery ; 
Portrait of Cornelis de Bie, Berlin Museum; 
Family Group of ten, Nantes Museum; 
Portrait of Maria de Haen, Lille Museum ; 


ish school; por-. 


Group of Artists, Old Pinakothek, Munich ; 
Family Group, Dresden Gallery ; Musical 
Assembly, National Gallery, Pesth. —Allgem. 
d. Biogr., iv. 471; Biog. nat. de Belgique, 
iv. 881 ; Ch. Blanc, Ecole famande ; Cat. de 
Musée d’Anvers (1874), 78 ; Michiels, ix. 30, 


246 ; Rooses (Reber), 379; Zeitschr. f. b— _ 


K. vii. 9. 

CORBOULD, EDWARD HENRY, born 
in London, Dee. 5, 1815. History painter, 
son and pupil of Henry C., painter and de- 
signer (1787-1844); twice won gold medal 
of Society of Arts; member of Institute of 
Painters in Water Colours. From 1851 to 
1872 was teacher of drawing and painting to 
children of Queen Victoria. Works: Fall 
of Phaéthon (1834); St. George and Dragon 
(1835); Greek Chariot-Race (1836); Race 
between Atrides and Antilochus (1837); 
Woman taken in Adultery (1842); Marriage 
of Nigel Bruce and Agnes of Buchan (1870), 
Queen Victoria ; Lady Godiva (1871); Enid’s 
Dream (1872); Héloise (1873); Canterbury - 
Pilgrims (1874); Iris (1878).—Miiller, 114. 

CORDAY, CHARLOTTE, IN PRISON, 
Charles Louis Miller, Corcoran Gallery, 
Washington ; canvas, H. 3 ft. 5 in. x 2 ft. 8 
in. Charlotte Corday, to rid her country of 
Marat, obtained an audience and stabbed 
him while in his bath. She was guillotined, 
July 17, 1793, aged 25 years. Represented 
to knees, seen through the iron bars of a 
prison window, one of which she grasps 
with her left hand, and supports her head 
with the right, in which she holdsa pen. En- 
graved by A. Lamotte. Photogravure in Art 
Treasures of America.—Corcoran Gal. Cat. 

CORDELIA AND KING LEAR, Theodor 
Hildebrandt, Mrs. A. T. Stewart, New York ; 
canvas. King Lear, Act IV., Scene 7. Cor- 
delia, though disowned, still clings to her 
father, whom Goneril and Regan,who have his 
blessing, have driven to despair and mad- 
ness.—Art Treas. of Amer., i. 48. 

CORDELIAGHI or CORDELLA, AN- 
DREA. See Previtali, Andrea. 

CORENZIO, BELISARIO, born in Greece 
about 1558, died in Naples in 1643. Nea- 


330 


CORINNE 


politan school ; studied five years in Venice 
under Tintoretto ; settled in Naples in 1590, 
and painted many good works, principally 
_ frescos, in the churches and public build- 
ings. He won reputation and wealth, and 
lived in luxury; but his character was infa- 
mous, and he was one of the principal mem- 
bers of the shameful Cabal of Naples, of 
which Spagnoletto was the head. He left 
but few easel pictures.—Lanzi, ii. 30; Ch. 
Blane, Ecole napolitaine ; Burckhardt, 757, 
768. 

CORINNE AT CAPE MISENUM, Fran- 
¢ois Gérard, Lyons Museum ; canvas. Illus- 
tration of the scene in Mme. de Staél’s “‘ Co- 
rinne,” where, at a féte given by her at Cape 
Misenum, she improvises verses intended to 
reveal her love to Oswald. Corinne, with 
her lyre beside her and eyes upraised, is 
seated at right upon a rock ; near her, con- 
templating her in silence, stands Oswald, en- 
veloped in a mantle ; on his right, a young 
Greek and the Prince of Castel-Forte; on 
his left, two young English girls; in back- 
ground, the sea and Vesuvius with the set- 
ting sun. Painted in 1819; acquired in 1821 
by the Prince Royal of Prussia, who pre- 
sented it to Mme. Recamier ; bequeathed 
by her in 1849 to Lyons, her native city. 
Gérard made several repetitions, one of 
which belonged to Talleyrand, one to M. Poz- 
zo di Borgo, and a third to Mme. Duchayla. 
The last has been engraved by Zachée Pre- 
vost, Bein, Landon, and C. Normand.— La- 
rousse, v. 138. 

CORINTH, LAST DAY OF, Tony Robert- 
Fleury, Luxembourg Museum ; canvas, H. 
13 ft. 2 in. x19 ft. 8 in. The third day after 
the battle of Leucopetra the Consul Mum- 
mius entered Corinth. The women and 
children were sold as slaves. Many of the 
inhabitants perished in the flames, while the 
city, after having been submitted to a hor- 
rible pillage, was destroyed at the sound of 
the trumpet. (Livy, ii. 15). In the fore- 
ground, the women and children, many of 
them nude, are grouped around the statues 
of the gods, whom they implore in vain; 


in the background, left, Mummius and 
his victorious legions are marching, while 
clouds of smoke at right indicate that the 
work of destruction has begun. Salon, 1870. 
—Gaz. des B. Arts (1870), iii. 492. 

CORMON, FERNAND, called Piestre, 
born in Paris, Dec. 22, 
1845. History and por- 
trait painter ; pupil of 
Cabanel, Fromentin, 
and Portaels. Medals: 
1870 ; 2d class, 1873 ; 
prix du Salon, 1875 ; 3d 
class, 1878 ; L. of Hon- 
our, 1880. Works: 
Weddings of the Nieb- 
elungen (1870); Sita 
(1873) ; Venetian Blind in Morning (1874); 
Woman of Java, Death of Ravana (1875), 
bought by Ministry of Fine Arts; Raising 
of Jairus’s Daughter (1877) ; Cain (1880), 

Luxem- 

18/5 E Cowmmon 33. 

Museum; Flowers (1881); Stone Age (1884); 
Portraits (1885). 

CORNARO, CATARINA, Queen of Cy- 
prus, portrait, Titian, Uffizi, Florence; can- 
vas, half-length, life-size; signed. The Queen, 
as St. Catherine, with a crown of gold stud- 
ded with pearls on her head, around which 
is the nimbus; at her elbow, the wheel. 
Painted in 1542. Replicas, with alterations, 
in Holford collection, and in collection of 
Duke of Wellington, London.—C. & C., Ti- 
tian, 1. 57. 

By Paolo Veronese, Vienna Museum ; can- 
vas, H. 3 ft. 10 in. x2 ft. 5in. The Queen 
of Cyprus in a rich costume, seen to knees, 
takes a bow from a table covered with vel- 
vet, and holds two arrows in her left hand. 

CORNARO, CATARINA, AT VENICE, 
Hans Makart, National Gallery, Berlin. The 
Queen of Cyprus, having landed at Venice, 
is receiving the homage of the nobles of 
that city. Painted in Vienna; exhibited in 
London, 1875. Philadelphia Exposition, 
1876. Sold to National Gallery for 50,000 
marks.—Portfolio, Feb., 1875. 


331 


CORNARO 


CORNARO FAMILY, Titian, Alnwick 
Castle, England ; canvas, H. 6 ft. 8 in. x 8 ft. 
5 in. An Altar, with the Holy Sacrament 
displayed, at top of a flight of marble steps 
to right; around it grouped nine members 
of the Cornaro family. Painted about 1560; 
purchased by tenth earl of Northumberland 
at Sir Anthony Van Dyck’s sale in 1656. 
Small copy at Hampton Court.—C. & C., 
Titian, ii. 8303; Waagen, Treasures, 1. 393. 

CORNARO, GIORGIO, portrait, Titian, 
Castle Howard, England; canvas, half-length, 
life-size ; signed. Cornaro stands at a win- 
dow, with a falcon in his gloved left hand. 
Painted in 1522. ‘Titian never produced a 
finer picture (C. & C.). Engraved by Skel- 
ton in 1811.—C. & C., Titian, i. 17. 

CORNARO, LUIGI, portrait, Titian (?), 
Palazzo Pitti, Florence ; canvas, H. 3 ft. 8 in. 
x2 ft.9 in. Figure to knees, dressed in 
black, sitting in an arm-chair. Fine portrait, 
but by Tintoretto. Engraved by Trasmundi. 
—Gal. du Pal. Pitti, i. Pl. 110; C. & C., Ti- 
tian, 11. 441. 


CORNEILLE DES GOBELINS. See 
Corneille, Michel, the elder. 
CORNEILLE, JEAN BAPTISTE, the 


vounger, born in Paris in 1646, died there, 
April 12, 1695. French school;- history 
painter, son and pupil of Michel C., of Or- 
léans ; won in 1664 the 2d prize, and in 1668 
the 1st prize in the Academy, of which he 
became a member in 1675. After living 
several years in Rome he became professor 
in the Paris Academy in 1692. Works: 
Hercules punishing Busiris (1675), Louvre ; 
Deliverance of St. Peter from Prison (painted 
for Notre Dame, 1679). Engraved after his 
own designs.—Villot, Cat. Louvre. 
CORNEILLE, MICHEL, born at Orléans 
in 1603, died in Paris in 1664. French 
school; history painter, pupil of Simon 
Vouet, in whose style he executed works for 
churches ; was in 1648 one of the twelve 
founders of the Academy, and in 1656 its 
rector. His best work, SS. Paul and Barna- 
bas at Lystra (engraved by Poilly), painted 
for the Cathedral of Notre Dame. He left 


several etchings after Raphael and the Car. 
racci.—Villot, Cat. Louvre. 

CORNEILLE, MICHEL, the elder, born 
in Paris in 1642, died there at the Gobelins, 
Aug. 16, 1708. French school; history 
painter, son and pupil of Michel C., of Or- 
léans ; won the prize at the Academy and 
went to Rome, where he studied especially 
the Carracci. On his return, in 1663, he be- 
came a member of the Academy, of which 
he became adjunct professor in 1673, and 
professor in 1690. He was employed by 
the King at Versailles, Meudon, and Fon- 
tainebleau, decorated several churches in 
Paris, and painted in fresco the chapel of 
St. Gregory in the Invalides. Sometimes 
called Corneille des Gobelins, because dur- 
ing his later years he had apartments at the 
manufactory. Many of his works have been 
engraved, and he himself etched and en- 


graved many 

i Co neslle plates. Works: 
r @ Re pose in 

Egypt, Lou- 

So. eo ee vre; Baptism 


of Constantine, Bordeaux Museum.—Villot, 
Cat. Louvre. 

CORNELIS VAN HAARLEM. See Cor- 
neliszen. 

CORNELISZ, JACOB, born at Oostsanen 
about 1475-1480 (?), died at. Amsterdam 
about 1555-1560 (?). Dutch school ; called 
also Jacob van Amsterdam, and Jan Walter 
van Assen ; history, portrait, and landscape 
painter ; earliest picture known dated 1506, 
and latest 1530. No particulars of his life. 
Among his pupils were his son Dirk (died 
1567), a good portrait painter, and Jan 
Schoreel. Works: Madonna and SS. Anna, 
Joseph, and Joachim, Prince Biickeburg’s 
Gallery; Ahrensburg near Hameln; Saul 
and the Witch of Endor; Salome (1524), 
National Museum, Amsterdam; Madonna 
and Angels, with SS. Sebastian, Magdalen, 
Donor and Donatrix, also male portrait, 
Antwerp Museum ; Incidents in Life of a 
Saint, Triptych with Madonna, Angels, and 
Saints, Berlin Museum; Repose in Egypt, 


332 


CORNELISZEN 


Dr. Weber, Berlin; Little Altarpiece with 
Madonna, Saints, Donor and Donatrix, 
Prince Frederick’s Collection, Hague ; Noli 
Me Tangere (1507), Altarpiece (1523), Cas- 
sel Gallery ; Altarpiece with Crucifixion (?), 
Cologne Museum; Birth of Christ, with An- 
gels, Shepherds, etc. (1512), Naples Muse- 
um; Lucretia, Pesth Museum ; Adoration 
of the Magi, Archbishop Museum, Utrecht ; 
Portrait (1533), Museum Kunstliefde, 
Utrecht ; Adoration of Magi, Verona Mu- 
seum; Altarpiece, Ambras Collection, Vi- 
enna; Altarpiece (1511), Male Portrait, Mu- 
seum, ib.; Departure of Christ from Mary, 
Gothic House, Worlitz ; Portraits of a Dutch 
Gentleman and Lady, with SS. Peter and 
Paul, National Gallery, London.—Allgem. d. 
Biogr., iv. 482 ; Forster, Denkmale, XI. iii. 
15; Jahrbuch der kéngl. preuss. Kunst- 
sammlg., iii, 13; Kunst-Chronik, xv. 579; 
Repertorium f. K., i. 186; Zahn’s Jahr- 
biicher, v. 48 ; Zeitschr. f. b. K., ii. 41. 
CORNELISZEN, CORNELIS, called Cor- 
nelis van Haarlem, 
born in Haarlem in 
1562, died there, Nov. 
11, 1638. Dutch 
school; history and 
portrait painter, pupil 
of Pieter Aertszen, the 
younger, and in Ant- 
werp of Gillis Cong- 
net; one of the best 
artists of that period ; 
founded with Karel 
van Mander, about 1583, the Haarlem Acad- 
emy. Works: Massacre of the Innocents 
(1590), do. (1591), Adam and Eve(1592), Wed- 
ding of Peleus, Portrait of Dirk Volkersz 
Koornhert, National Museum, Amsterdam; 
Young Bacchus (1607), Rotterdam Museum ; 
Archers’ Banquet (1583), do. (1599), The Haar- 
lem Miracle (1591), An Auto-da-fé (1595), 
Baptism of Christ, Adam and Eve (1620), 
Christ blessing the Children (1633), Haarlem 
Museum ; The Deluge (1592), Venus and Cu- 
pid (1610), Venus and Adonis, Democritus 
and Heraclitus (1613), The Golden Age(1615), 


Brunswick Museum; Erection of Brazen 
Serpent (1597), Darmstadt Museum; Fe- 
male Portrait, Provinzial Museum, Hanover : 
Golden Age (1616), Toulouse Museum ; Al- 
legory on Brevity of Life (1617), Copen- 
hagen Gallery ; Bathsheba (1617), Berlin 
Museum ; Venus, Apollo, and Ceres (1614), 
Dresden Museum ; Dragon devouring the 


_JO)7- 


Peopleof Cadmus.—Allgem. d. Biogr., x. 260; 
Ch. Blane, Ecole hollandaise ; Immerzeel, 
u. 4; Kramm, ii. 621; Riegel, Beitrige, i. 
119; i. 157; Van der Willigen, 114. 
CORNELIUS, PETER VON, born in 
Diisseldorf, Sept. 23, ke 
1783, died in Berlin, : 
March 6, 1867. Ger- Xe \ eS 
man school; history fifi}? Sy: 4 ¥ 
painter, pupil of his 
father, Aloisius, and 
from 1796 at the 
Diisseldorf Academy 
under Langer. After 
his father’s death in 
1799 he contributed 
to the support of his family by painting 
portraits, making designs for calendars, etc., 
until about 1806-1808, when he was em- 
ployed to decorate the cupola and choir of 
St. Quirin’s at Neuss. In 1809 he went to 
Frankfort, executed historical paintings for 
the Prince Primate von Dalberg, and illus- 
trations to Faust, which were highly praised 
by Goethe. At Rome (1811-1819), he stood 
between the pre-Raphaelites led by Over- 
beck and the classic Germans under Car- 
stens. His compositions from the Niebelun- 
gen Lied were so successful that he gladly 
accepted the invitation of the Consul-Gen- 
eral Bartholdy to decorate the Casa Zuccaro 
with frescos from the history of Joseph, 
conjointly with Overbeck, Schadow, and 
Veit. In 1819 King Louis I. of Bavaria 
called him to Munich, and as he was at the 


333 


CORNFIELD 


same time appointed director of the Diissel- 
dorf Academy, he was allowed to divide the 
year between the two cities, in both of 
which he exercised an important influence. 
In 1822-1830 he executed the Iliad fres- 
cos in the Glyptothek, and then returned in 
1830 to Rome, where he was again in 1834, 
1843, 1845, and 1853-61. In 1841 he ac- 
cepted a call to Berlin, and undertook a 
series of frescos for the Cemetery, whose 
preparation and partial execution occupied 
him for the next twenty years. The Car- 
toon of the Breaking of the Seventh Seal, 
one of the series, and the great altarpiece of 
the Last Judgment in the Ludwigs Kirche 
at Munich are perhaps his most remarkable 
works. Works: Evangelists and Apostles 
(1806), St. Quirinus, Neuss ; Joseph’s Meet- 
ing with his Brethren (1815), Casa Bar- 
tholdy, Rome ; Dante frescos, Villa Massimi, 
Rome ; Frescos for the Iliad, ceiling of the 
Trojan Hall (1826-1830), Munich ; The Last 
Judgment (1839), Ludwigs Kirche, Mu- 
nich ; Hagen sinking the Niebelungen Hoard 
(1859), National Gallery, Berlin; Christ’s 
Visit to Limbo, Raczynski Gallery, Berlin ; 
The Fall, The Birth of Christ, The Entomb- 
ment, Resurrection, Poetry of the Apostles, 
Descent of the Holy Ghost, The Apocalypse, 
Royal Cemetery, Berlin.—Allgem. d. Biogr., 
iv. 484 ; Ch. Blanc, Ecole allemande ; Brock- 
haus, iv. 603; Forster, P. von C. (Berlin, 
1874); Gautier, L’Art moderne, 237; Grimm, 
Ten Essays, 245, 279; Der neue Plutarch, 
vii.; Pecht, i.1; Perrier, Etudes, 222 ; Kai- 
ser, Cornelius u. Kaulbach (Basle, 1877); 
Riegel, C. der Meister, etc. (Hanover, 1870); 
Reber-Pecht, 1. 3, 174; Rosenberg, Berl. 
Malersch., 108, 110; Woltmann, aus vier 
Jahrhdt., 208, 230; Wolzogen, P. von C. 
(Berlin, 1867); Kunst-Chronik, i. 73; 
Zeitschr. f. b. K., i. 101; v. 331, 368; xix. 
i. 38. 

CORNFIELD, John Constable, National 
Gallery, London ; canvas, H. 4 ft. 8 in. x 4 
ft. A country lane leading between two 
groups of trees to a cornfield in the middle- 
ground ; in foreground, sheep guarded by 


a dog, and a shepherd drinking at stream at 
left. Painted in 1826; presented to Na- 
tional Gallery in 1837. Engraved by D. 
Lucas ; C. Cousen.— Cat. Nat. Gal.; Brock- 
Arnold, 109 ; Art Journal (1869), 10. 

CORNICELIUS, GEORG, born at Ha- 
nau, Hesse-Nassau, in 1825. History and 
genre painter; pupil in Hanau of Pelis- 
sier and in 1848 of the Antwerp Academy; 
after visiting Paris, Munich, and North Italy, 
settled in Hanau. Works: Marguerite be- 
fore the Madonna; Holy Family ; Luther 
posting the Thesis; Christ and Samaritan 
Woman ; Daughter of Jairus ; St. Elizabeth 
in Penitence ; Mary Stuart before Execution; 
Gypsy Children ; Serenade ; Circus Riders ; 
German Landsknechts in Rome; Monks at 
Prayer (1863); Hans and Grete ; Cinderella ; 
Red Riding Hood. — Brockhaus, iv. 605 ; 
Miller, 115. 

CORNU, SEBASTIEN MELCHIOR, 
born in Lyons in 1804, died at Longpont, 
Aisne, in October, 1870. 
genre painter, pupil in Lyons of Richard 
and Bonnefond, and in Paris of Ingres. 
Painted pictures which display careful draw- 
ing, but poor colouring and little originality. 
Received many orders from the Government. 
Medals: 3d class, 1838 ; 2d class, 1841; 1st 
class, 1845; L. of Honour, 1859; Officer, 
1862; Manager of the Campana Museum 
in the Louvre, 1862. Works: Harvester 
Resting (1833); Pifferaro Sick, Louis IX. 
bidding his Mother Farewell (1838); Christ 
among the Doctors (1848); Interviews be- 
tween Faust and Marguerite, Finding of a 
Statue of the Virgin (1857); Christ on the 
Cross (Poitiers); Bacchanals (Grenoble); A 
Turk’s Dream (Valenciennes); Surrender of 
Ascalon to Baldwin IIL., Battle of Oued- 
Halleg (Versailles); St. Anne teaching the 


Virgin (St. Laurent in Puy); Christ, St. Luke — 


and St. Egidius, The Virgin as Mother of 
the Afflicted (1855).—Larousse. 
CORNWALLIS, SURRENDER OF, John 
Trumbull, rotunda of Capitol, Washington ; 
canvas, H. 12 ft.x18 ft. The surrender of 
the British army to the allied American and 


334 


History and _ 


a 


COROT 


French forces at Yorktown, Va., October 19; 
1781. Cornwallis and his officers are pass- 
ing before the victorious generals, between 
the two lines of victorious troops ; in middle 
distance, the town with troops marching 
out. Painted in 1817-24 for $8,000. Orig- 
inal study in Yale College Gallery. 

COROT, (JEAN BAPTISTE) CAMILLE, 
born in Paris, 
July 20, 1796, 
died there, 
Feb. 23, 1875. 
Landscape paint- 
er, pupil of Mi- 
challon and after 
his death of Vic- 
tor Bertin. Went 
to Italy in 1826, 
and in studying 
nature as he con- 
tinued to do on returning to France, in Pro- 
vence, Normandy, and Fontainebleau, learned 
to couple breadth of treatment with careful 
though not obtrusive detail. An eminently 
suggestive and refined painter, gifted with a 
highly poetical and tender feeling, he has, 
from his peculiar excellence in treating still 
water, the sleeping woods, the broad, pale 
horizon and the veiled sky, been called the 
Theocritus of landscape painting. He is 
well characterized in a sonnet by an Ameri- 
can poet, as— | 

‘“Thou painter of the essences of things.” 
At the height of his career, Corot is said to 
have made 200,000 francs a year by the sale 
of his pictures. Medals: 2d class, 1833 ; 1st 
class, 1848 and 1855 ; 2d class, 1867; L. of 
Honour, 1846 ; Officer, 1867. Works : View 
at Narni, Roman Campagna (1827); two Ital- 
ian Views, Duke of Orléans; another Italian 
View (1834), Douai Museum ; Souvenir of 
the Suburbs of Florence (1839), Metz Mu- 
seum ; Danse des Nymphs (1851), Roman 
Forum, Coliseum, Luxembourg Museum ; 
Christ in the Garden (1849), Langres Muse- 
um ; Sunset in the Tyrol (1850), Marseilles; 
Souvenir of Marcoussis, bought by Emperor; 
Martyrdom of St. Sebastian (1853); Evening 


Star, W. T. Walters, Baltimore ; Morning, 
Evening (1855); Burning of Sodom, Nymph 
playing with a Cupid, The Concert, Sunset 
(1857); Dante and Virgil, Boston Museum ; 
Macbeth (1850); Idyl, Italian Tyrol, Studies 
at Ville d’Avray (1859); Sunrise, Orpheus, A 
Lake, Souvenir of Italy, Rest (1861); Study at 
Méry (1863); Souvenir of Morte-Fontaine, 
Gust of Wind (1864); Morning, Environs of 
Lake Nemi (1865); Evening, Solitude (1866); 
Ruins of Castle of Pierrefonds, Morning, 
Evening (1867); Morning at Ville d’Avray 
(1868); Woman Reading, Morning at Ville 
d’Avray (1869); Landscape with Figures 
(1870); Near Arras (1872); Pastoral “Scene, 
The Parson (1873); Arlem, Evening, Moon- 
light (1874); Woodsmen, Pleasures of Even- 
ing, Biblis (1875) ; Nymphs Dancing, Cor- 
nelius Vanderbilt, New York; Danse des 
Amours, Chas. A. Dana, New York.— Ch. 
Blane, Artistes, d. m. I., 8365; Claretie, Pein- 
tres, etc. (1882), 97; Du Camp, Beaux Arts, 
80 ; Leclercq, Caractéres, 184; Meyer,Gesch., 
Kunst-Chronik, x. 487; C. Carr, Essays, 174; 
L’Art, i. 216, 240, 269, Ménard ; Hamerton, 
French Painters ; Portfolio (1870), 60 (1875), 
146; Gaz. des B. Arts (1875), xi. 330; 
1881; Contemp. Rev., xxvi. 157; Overland 
Monthly, xv. 468. | 

CORREA, DIEGO, died in 1550. Span- 
ish school. Painted a series of pictures of 
scenes from life of Christ, now in Madrid 
Museum, for Bernardine Convent of Vald- 
eiglesias. Style resembles that of Perugino, 
whence some think he studied at Florence. 
According to Siret, there is a picture in con- 
vent of Valdeiglesias signed D. Correa fecit, 
1550. Christ Crucified, Dresden Museum. 
—Stirling, i. 150. 

CORREGGIO, born at Correggioin1494(?), 
died there, March 5, 1534. Lombard school. 
Real name Antonio Allegri, son of Pelle- 
erino Allegri; probably pupil of his father’s 
brother, Lorenzo, and of Antonio Bartolotti, 
both second-rate painters of his native town. 
At Modena he is said to have found a better 
master in Francesco Bianchi, called Ferrari, 
who belongs to the school of Francia; but 


395 


® 


CORRODI 


as Bianchi died in 1510, this, like all that 
concerns Correggio’s training, is uncertain. 
The attempt to ac- 
count for his peculiar 
development has led 
to many conjectures, 
none of which give 
any clue to the for- 
mation of his totally 
new method of paint- 
ing, or to the distin- 
suishing characteris- 
tics of his style. 
These characteristics are sweetness of ex- 
pression and ineffable grace of pose ; light 
in colour, or in other words a certain lumi- 
nous quality which irradiates and transfig- 
ures. In facility of handling, in absolute 
mastery over the difficulties of foreshorten- 
ing, in the management of light and shade 
as distributed over vast spaces and affecting 
multitudes of figures, this great master has 
no rival. At the same time, with all the 
beauty of his Madonnas and Angels, the 
charm and grace of his children, the noble 
dignity of his Saints and Apostles, and the 
harmony of his colouring, Correggio’s sweet- 
ness sometimes cloys, and his grace occasion- 
ally degenerates into affectation. His mas- 
terpieces in oils are in Dresden, Paris, and 
Parma. Works: Madonna of St. Francis 
(1514), Madonna of St. George, Madonna of 
St. Sebastian, La Notte (1522 or 1528), and 
Magdalen, Correggio’s Physician, Dresden 
Gallery ; Rape of Ganymede, Jupiter and Io, 
Vienna Museum; Madonna adoring Jesus, 
Uffizi, Florence ; Madonna hushing Jesus, 
Prince Torlonia, Rome ; Madonna del Latte 
(1519), Assumption of the Virgin (sketch for 
the fresco in the Duomo, Parma), Apollo and 
Marsyas, Hermitage, St. Petersburg; La 
Zingarella, Marriage of St. Catherine, Na- 
ples Museum ; Antiope, Marriage of St. Cath- 
erine, Louvre, Paris; Ecce Homo, Madonna 
della Cesta, Education of Cupid, National 
Gallery, London; Il Giorno, Madonna della 
Scodella (1530), Madonna della Scala, Martyr- 
dom of SS. Placidus and Flavia, Pietd, Parma 


Gallery ; Danaé, Palazzo Borghese, Rome ; 
Leda, Jupiter and Io, Berlin Museum. Cor- 
reggio’s frescos are in Parma: Camera di §. 
Paolo (1518), Ascension of Christ, cupola, 
and St. John the Evangelist over Sacristy 
door, S. Giovanni (1520-25); Assumption of 
the Virgin and patron Saints of Parma, Du- 
omo (1526-35); Christ in the Garden, Apsley 
House, England; Noli Me Tangere, Madrid 
Museum. The life of Correggio was passed 
within the confines of Lombardy, between 
Correggio, Modena, and Parma. It is more 
than doubtful whether he ever visited Rome. 
Vasari’s story of his death caused by fatigue 
of carrying a large sum of money in copper 
coin, with which he had been paid for his 
work at Parma, to Correggio, has no foun- 


AnTonivs Ye ALceeres - 


dation. — Vasari, ed. Mil., iv. 109; Meyer, 
Kinst. Lex., i. 335 ; Meyer, Correggio (Leip- 
sic, 1871); Seguier, 203; Burckhardt, 175, 
634, 694, 700; Pungileoni, Mem., etc. (1817 
—21); Coxe, Lives of Correggio and Parme- 
gianino (London, 1823); Dohme, 2iii.; Kug- 
ler (EKastlake), 11.497; Liibke, Gesch. ital. 
Mal., ii. 414. 

CORRODI, HERMAN, born in Rome, 
July 23, 1844. Italian school; landscape 
and genre painter, son of the Swiss landscape 
painter, Salomon C. (born at Ziirich in 1810), 
who settled in Rome in 1828, twin brother 
of the history painter, Arnold C. (died 1874), 
together with whom he studied in Rome 
and Paris, and after whose death he made 
study-trips to the Kast. He has three stu- 
dios: in Rome, Baden-Baden, and London, 
and divides his time between them, accord- 
ing to the season. Medal, Vienna, 1874. 


336 


CORSET 


Works: Pine Woods (1874) ; Storm on Isle 
of St. Honoré ; Procession at Sorrento (1878); 
_ Congregation of Monks in the Campagna ; 
Gondola Sail in Venice ; Villa on Lake Como ; 
Serenade at Amalfi; Monastery of Marsala 
on the Dead Sea; Baptism of Pilgrims in 
the Jordan.—Meyer, Conv. Lex., xviii. 206. 
CORSET BLEU, Gabriel Metsu, Baron 
Alfred de Rothschild, London ; wood, 1 ft. 
4 in.xX1 ft. A lady in a blue corset bor- 
dered with ermine, and a white satin skirt 
trimmed with gold lace, seated, with a mu- 
sic book on her lap ; on the further side of 
a table sits a gentleman tuning a guitar; a 
glass of wine is on the table, and a little 
spaniel is in front. Tonneman Collection, 
Amsterdam (1754), 1,405 fi.; Destouche Col- 
lection (1794), 8,161 fr.; Robit Collection, 
Paris (1801), 8,120 fr.; Hibbert Collection, 
London (1829), £560. Replica, inferior, 
Buckingham Palace.—Smith, iv. 77. 
CORSET ROUGE, Gabriel Metsu, W. 
Long Collection, London; wood, H. 1 ft. 
14 in.x1lin. A lady in a scarlet velvet 


corset and a taffeta petticoat, seated, caress- | 


ing a dog ; some blue paper, on which she 
has been drawing, lies in her lap, and the 
figure of an infant in plaster stands on a 
table before her. Destouches Collection 
(1794), 6,101 fr.; Robit Collection (1801), 
3,120 fr., to Sir Simon Clarke.—Smith, iv. 
‘fee 

CORTAZZO, ORESTE, born in Italy ; 
contemporary. Genre painter. Works: In- 
terrupted Sitting (I. Rogers, Philadelphia) ; 
Geographical Student, A. E. Borie Col, 
Philadelphia; Teasing the Poet; Taking 
Leave ; Crowning the Bride, W. B. Bement, 
Philadelphia ; Judgment of Paris, Amateurs 
of Bric-a-brac, Mrs. Paran Stevens, New 
York. 

CORTE, CESARE DA, born in Genoa in 
1550, died there in 1613. Genoese school ; 
son of Valerio Corte, an excellent portrait 
painter from Venice (1530-80); one of the 
best pupils of Luca Cambiaso. Painted 
history and portraits with success, and is 
said to have visited France and England, 


and to have painted Queen Elizabeth. He 
adopted the opinions of Luther, and died in 
the prison of the Inquisition. His son 
David, noted as a copyist, died of the plague 
in 1657.—Lanzi, ui. 249; Baldinucci, iii. 


595; Ch. Blanc, Ecole génoise. 


CORTE, JUAN DE LA, born in Madrid in 
1597, died there in 1660. Spanish school ; 
pupil of Velasquez; painted in palace of 
Buen Retiro pictures of Judgment of Paris, 
Rape of Helen, Burning of Troy, the Relief 
in 1635 of Valenza on the Po, and other 
works, especially landscapes, in which he 
was most successful. His son Gabriel (1648- 
1694) was a good flower-painter.—Stirling, 
i. 692 ; Curtis, 329. 

CORTICELLI. See Pordenone. 

CORTONA, PIETRO DA. See Pietro da 
Cortona. 

COSIMO, PIERO DI, born in Florence 
in 1462, died in 1521(?). Florentine school ; 
real name Piero di Lorenzo (a goldsmith), 
but called Cosimo from his master, Cosimo 
Rosselli, in whose studio he was the com- 
panion of Fra Bartolommeo and of Mariotto 
Albertinelli. He accompanied Rosselli to 
Rome (1480-85), and probably remained 
with him until his death (1506), after which 
he continued to paint in his style. Among 
his works may be noted the Wedding of 
Perseus, Perseus delivering Andromeda, An- 
dromeda delivered, and the Sacrifice to Jove 
for her safety, Virgin upon a Pedestal sur- 
rounded by Saints, Uffizi, Florence ; Death 
of Procris, National Gallery, London ; Venus 
and Mars, Meeting of Christ and the Baptist, 
Berlin Museum ; Coronation of the Virgin, 
Louvre. Cosimo was the master of Andrea 
del Sarto. Vasari describes him as a strange 
and cynical man.—C. & C., Italy, ii. 420; 
Burckhardt, 551; Ch. Blane, Ecole floren- 
tine; Vasari, ed. Mil, iv. 131; Liibke, 
Gesch. ital. Mal., i. 374. 

COSSA, FRANCESCO, painted in 1456- 
1474. Lombardo-Ferrarese school. First 
appears in a record of 1456, asassistant to his 
father, Cristofano del Cossa, then engaged 
in illuminating the carving and statues 


337 


COSSIAU 


about the high altar of the bishop’s palace, 
Ferrara. In later years removed to Bo- 
logna, where he is justly celebrated for his 
Madonna with Saints (1474), Bologna Gal- 
lery, and his Madonna del Barracano (1472). 
Cossa was of the same school as Tura, but 
he was a better draughtsman and more cor- 
rect in feeling. His rich detail is worked 
out in a grayish tone with great charm. 
His somewhat morose faces, too, are less 
grotesque than those of Tura. He was not 
free from northern peculiarities, and some- 
thing in his air or technical treatment re- 
calls Roger van der Weyden.—C. & C., N. 
Italy, i. 522; Burckhardt, 579; Ch. Baie. 
Ecole fenaiaes Lermolieff, 124, 128, 130, 
243. 

COSSIAU, JAN JOST D., born at Breda 
in 1654 or 1664-66, died in 1732 or 1734. 
Dutch school; landscape painter ; imitated 
Gaspard Poussin, lived for some time in 
Paris, became court painter at Mentz and 
Bamberg, and was the first organizer of the 
picture galleries at Pommersfelden, Gai- 
bach, and Wiesenthaid. Works: Italian 
Landscape with Castle (1704), do. with 
Pyramid (1704), Brunswick Museum; 
Egyptian Landscape, Cassel Gallery ; 
large Landscape (1716), Old Pinakothek, 
Munich ; others in Versailles and Diissel- 
dorf Galleries.—Kramm, i. 275. 

COSSIERS (Cotsiers, Causiers), JAN, 
born in Antwerp, July 15, 1600, died there, 
buried July 7, 1671. Flemish school; his- 
tory, genre, and portrait painter, pupil of 
his father, Anton, and of Cornelis de Vos; 
entered guild in 1628, dean in 1639-1641. 
Painted much for the King of Spain, the 
Cardinal Infant Ferdinand, Archduke Leo- 
pold William, and many other princes. 
Works: Adoration of Shepherds (2), Gen- 


L ( ossens 


tleman lighting his Pipe, Portrait of a Sur- 
geon, Flagellation, Antwerp Museum; Del- 


uge, Brussels Museum ; Jupiter and Lycaon, 
Prometheus, Narcissus, Madrid Museum ; 
Christ at Simon’s, Temptation of St. An- 
thony, Holy Family, Crucifixion, Pieta, 
Kglise du Béguinage, Mechlin.—Biog. nat. 
de Belgique, iv. 412 ; Cat. du Musée d’An- 
vers (1874), 92; Michiels, ix. 78; Rooses 
(Reber), 372. 

COSTA, GIOVANNI, born in Italy ; con- 
temporary. Landscape and portrait painter. | 
Resides at Rome. Exhibits chiefly at Gros- 
venor Gallery, London. Works: On the 
Sands near Ardea—Rome (1877) ; Cam- 
pagna, Capri, On the Shore (1877) ; Dawn 
near Bocca d’Arno (1879) ; Gulf of Spezzia 
from Lerici (1880); Naughty Girl—Capri, 
Approach to Venetian Lagoon (1881) ; 
Sunrise—Porto d’Anzio, Sunrise on Car- 
rara Hills (1882); Morning on Hills of 
Branzi—Lerici, Kensington Palace (1883.) 

COSTA, LORENZO, born in Ferrara in 


ae 1460, died in 

eS » Mantua, March 5, | 
\e \\ ef Pe 1535. Bolognese 

{ Ta ar ¥ school; after sev- 
LY) if ei AN eral years’ work 

(/) te DANY in Ferrara he 

vii ee ~™\ ) went to Florence, 
CREA according to Va- 


ANG Ci 
Wir : ae sari, and stud- 
ied the works of 
Ee Lippi and Benoz- 
zo Gozzoli. About 1480-88, he was em- 
ployed by the Bentivoglio family, Bologna, 
in the decoration of their palace (destroyed 
in 1507), and probably alternated between 
that city and Ferrara until the expulsion of 
the Bentivoglio family (1509), when he en- 
tered the service of the Gonzagas of Man- 
tua, where he painted during the rest of his 
days. In Bologna he was a co-worker of 
Francia’s, and was probably of much use to 
the latter between 1480 and 1490 ; but be- 
tween 1490 and 1500 Francia rivalled and 
excelled his friend, and Costa followed where 
he had before been « leader. Among his. 
better Bolognese examples are: Madonna 
(1488), Cappella Bentivoglio in S. Jacopo 


Ties ot 


338 


COSWAY 


Maggiore, Triumphs of Life and Death 
(1490), same chapel; Annunciation (1490- 
_ 95), Cappella Marescotti in S. Petronio; and 
Madonna with Saints (1492), Cappella Baci- 
occhi in 8. Petronio. There are also frescos 
by him in 8. Jacopo Maggiore and in S. Ce- 


cilia. Among his Mantuan pictures are: 
Court of 

Isabella, LAVRENTIVSS 
Louvre; Sisal 


Cee; LAVRENTIVS COSTA F 


Chr 

(1504), OF. 

(1304), I$e2 

tion (1502), Berlin Museum ; Madonna and 
Saints (1525), Ferrara Gallery.—C. & C., N. 
Italy, 1. 538; Vasari, ed. Mil. ii. 131; 
Burckhardt, 581; Rio, iii. 121; Ch. Blane, 
Ecole ombrienne. 

COSWAY, RICHARD, born at Tiverton 
in 1740, died in London, July 4, 1821. Son 
of a schoolmaster; pupil in London of 
Thomas Hudson, and student in 1769 at 
Royal Academy ; became A. R. A. in 1770, 
and R.A. in 1771. Was the fashionable 
miniature painter of his time, and equally 
famous for vanity, extravagance, and eccen- 
tricity. He painted many of the beauties of 
the day, among them Mrs. Fitzherbert, and 
gained the favour of the Prince Regent. He 

also originally painted in oil. His wife, 

Maria Cecilia Louisa (Hadfield) Cosway 

; (1745-1822 ?), was a subject 

painter of considerable ability. 

R Portrait of the painter by him- 

self, Nat. Port. Gal.; of Gen. P. 

Paoli, Uffizi, Florence.—Red- 

grave ; Ch. Blanc, Ecole anglaise ; Art Jour- 
nal (1858), 268 ; Sandby, i. 179. 

COT, PIERRE AUGUSTE, born at Be- 
darieux (Hérault), Feb. 17, 1837, died Aug. 
18, 1883. Genre and portrait painter, pupil 
in Paris of Cabanel, Léon Cogniet, and Bou- 
guereau. His style is very graceful and at- 
tractive. Medal: 1870; 2d-class, 1872 ; L. 
of Honour, 1874. He exhibited many por- 
traits and a few ideal pictures. Works: 
Woman Bathing (1867); Salmacis and Her- 


maphroditus, Poverty (1868); Portrait of 
Mme. Cot (1869); Prometheus, Meditation 
(1870); All Souls Day at the Campo Santo 
of Pisa, Dionysa (1872); Magdalen (1875); 


+A-COT 1875 


Spring-Time (1876); Mireille (1882), Lux- 
embourg Museum.— Gaz. des B. Arts 
(1883), Chronique. 

COTES, FRANCIS, born in London in 
1726, died there, July 20, 1770. Pupil of 
George Knapton ; became eminent as a por- 
trait painter, was a member of the Society 
of Artists, and one of the original members 
of the Royal Academy, where he exhibited 
from 1760 to 1770. Works: Portrait of 
his father, Royal Academy ; Admiral Lord 
Hawke, Greenwich Hospital ; Portrait group 
of Mr. and Mrs. Joab Bates, Sacred Harmon- 
ic Society. His younger brother, Samuel 
(1784-1818), was noted as a miniature 
painter.—Redgrave; F. de Conches, 86; 
Sandby, i. 95 ; Graves, 54. 

COTIGNOLA, BERNARDINO DA. See 
Zaganelli, Francesco. 

COTIGNOLA, FRANCESCO DA. See 
Zaganelli, Francesco. 

COTIGNOLA, GIROLAMO DA. 
Girolamo da Cotignola. 

COTMAN, JOHN SELL, born at Nor- 
wich, June 11, 1782, died in London, July 
28, 1842. Studied design in London in 
1800-6, during which time exhibited views. 
of Welsh scenery at the Academy. In 1807 
became a member and secretary of the Nor- 
wich Society of Artists. In 1811 began to 
publish ‘‘ Architectural Etchings,” and in 1816. 
“Specimens of Norman and Gothic Archi- 
tecture in Norfolk,” followed by other anti- 
quarian works. He made several visits to 
Normandy, the result of which appears in 
Dawson Turner’s ‘‘ Architectural Antiquities 
of Normandy ” (1822). In 1834 he became 
drawing-master to King’s College School, 
and removed to London. During these 
labours he painted many landscapes and 
sea views, but he was more successful in 


See 


839 


COTSIERS 


water-colours than in oils. With Crowe 
and others of the Norwich school he exer- 
cised a considerable influence on British art. 
His son, Miles Edmund Cotman (1811-1858), 
painted river and sea views, but was chiefly 
a teacher, and succeeded him at King’s Col- 
lege.—Redgrave ; I’. de Conches, 188. 

COTSIERS. See Cossiers. 

COTTAGE DOOR, Thomas _ Gaines- 
borough, Grosvenor House, London ; canvas, 
H. 3 ft. 10 in. x 4 ft. 8 in. A cottage ma- 
tron, with an infant in her arms, and sev- 
eral older children around her, enjoying 
themselves in front of a rustic cabin ina 
woody nook. Sold in 1786 to T. Harvey, of 
Catton, Norfolk ; in 1807 to Mr. Coppin, of 
Norwich, from whom bought by Sir John 
Leicester, Bart., at whose sale (1827) bought 
by Earl Grosvenor for £525. Engraved 
by Scott, in Britton. Etched (1832), by Ch. 
Koepping. — Brock-Arnold, 74; Fulcher, 
196 ; Waagen, Treasures, 1. 173. 

COUBERTIN, CHARLES DE, born in 
Paris, April 23, 1822. Genre painter, pupil 
of Picot; subjects mostly from Italian life 
and history. LL. of Honour, 1865. Works: 
Discovery of the Laocoén in Rome in 1506 
(1846); Incident of the Plague in Milan 
(1851), Laval Museum; Pontifical Mass in 
Rome, Roman Cardinal Walking (1857) ; 
Ball Players in Coliseum (1859); Good Fri- 
day in Palermo; View of the Forum, View 
of the Coliseum, Luxembourg Museum ; 
Pigeons on Square of San Marco (1861); 
Death of St. Stanislaus Kotska (1865); 
Miraculous Death of St. Jean de Dieu, 
Group at the Grandfather’s (1879); Poet 
and Muse (1881); The First Partridge, Le- 
gend of the Via Appia (1882); Serenade at 
Vicenzo (1883). 

COUDER, ALEXANDRE, born in Paris, 
April 16, 1808, died there in 1878. Still- 
life painter, pupil of Gros, in whose studio 
he first painted a few genre pictures. Medal, 
3d class, 1836. L. of Honour, 1853. Works: 
Return from the Fields, Bouquet of Wild 
Flowers (1874); do. and Interior (1876); 
Roses and Fruits (1877); Return from Mar- 


ket, Grapes, Wild Flowers (1878).—Miller, 
116. 

COUP DE PISTOLET (Pistol Shot), 
Philips Wouwerman, Buckingham Palace, 
London ; wood, H. 1 ft. 4 in. x 1 ft. 6 in. 
Before a sutler’s tent is a group of cavalry, ac- 
companied by women, children, and dogs; 
a trooper, on a white horse, is pledging a 
woman in a glass of liquor, while a trum- 
peter blows his trumpet, and another troop- 
er discharges his pistol. Engraved by W. 
Greatbach. . 

COUR, JANUS LA, born at Ringkjé- 
bing, Jutland, Sept. 5, 1837. Landscape 
painter, pupil of Kiaerschon and of Copen- 
hagen Academy under Marstrand ; won a 
prize in 1861; went to Italy and Paris in 
1865-67, to Switzerland and Italy in 1868-70. 
Medal, Copenhagen, 1871. Member of 
Copenhagen Academy in 1872. Works: 
Coast View at Helgenaers (1855); Views in 
the North Sea (1856); Early Summer Morn- 


ing (1861); Evening on Lake of Nemi (1871); 


Oakwood Border, two others, Copenhagen 
Gallery. — Sigurd Miller, 66; Weilbach, 
121. 

COURANT, MAURICE, born at Havre, 
Nov. 8, 1847. Landscape and marine paint- 
er ; pupil of Meissonier, and studied nature 
on the south coast of France. Medal, 1870. 
Works: Fontaine du Pin near Antibes, 
Shore of Jouan Bay (1868); Entrance to 
Harbour of Antibes (1869); The great Plains 
around Poissy (1870); Pond in Winter (1872), 
Summer Morning (1874); Stormy Weather, 
Rising Tide (1875); Getting under Sail, 
Roche-aux-Mouettes (1878); Bark of God- 
debi (1881); Fishing Bark (1882).—Meyer, 
Conv. Lex., xix. 177. 

COURBET, GUSTAVE, born at Ornans, 
(Doubs), June 10, 1819, died at Tour de Peil, 
near Vevay, Jan. 1,1878. Genre, landscape, 
and portrait painter. Sent to school at Be- 
sangon and then to study law at Paris in 
1839. Attended several studios, but chiefly 
that of David d’Angers. Began at an early 
age to paint caricatures, especially of priests; 
but did not treat landscape until 1841 at 


340 


ee ee ee ee ee a 


en ee ee ee eee 


—— 


> ee SS  — + ee eT 


a a 


COURDOUAN 


Fontainebleau. He exhibited in 1844, 
though it was not until 1849 oe he first 
attracted atten- = 

tion by his After 
Dinner at Ornans. 
His Burial Scene 
at Ornans (1850) 
and the Stone- 
Breakers were 
much talked 
about, and the ex- 
hibition of his 
works at Besan- 
gon, Dijon, Munich, and Frankfort in 1854. 
extended his reputation. After 1870 he 
ceased to exhibit his pictures. Medals in 
1849, 1857, and 1861. As chief instigator 
of the overthrow of the Vendéme Column, 
May 16, 1871, he was sentenced to six 
months’ imprisonment, and to bear the cost 
of restoration. After his release he retired 
to Switzerland. He was an intense, but nar- 
row and unemotional realist. Works: The 
Wounded Man (1844) ; Violoncellist, three 
Landscapes (1848); After Dinner at Ornnas, 
Landscape near Honfleur, Lille Museum ; 
Valley of the Loue, The Parishes of Chas- 
sagne (1849); River Loue, Ruins of Castle of 
Scey, Peasants returning from a Fair, Stone- 
Breakers, Burial at Ornans (1850), Louvre, 
Salle des Colonnades ; Conflagration (1851); 
Village Ladies (1852); Women Bathing, Wo- 
man Spinning, Wrestlers (1853) ; Sifting 
Wheat (1855); Young Women of the Seine, 
Hunting a Roebuck, Doe run down in the 
Snow (1857), Boston Museum Fine Arts; 
Deer Fighting, Deer in the Water, Hunts- 
man, Fox in the Snow, Rock of Oragnon 
(1861); Fox-Hunting, Little Fishermen in 
Franche-Comté, Return from Conference 
(1863) ; Valley of Puits Noir (1865), Luxem- 
bourg Museum ; Woman with a Parrot, The 
Quarry (1866), Boston Museum of Fine Arts; 
A Beggar’s Alms, Buck at Bay (1868), Lou- 
vre ; Deer Calling, The Siesta (1869), The 
Stormy Sea (Luxembourg Museum), Cliffs 
of Etretat (1870). The following were 
bought by the State at the Lepel-Cointet 


sale (1881) : Deer in Cover (35,000 fr.), Man 
with a Leather Belt (26,100 fr.), Courbet’s 
Studio (21,000 fr.), Stag Fight (49,100 fr.), 
Deer Calling (33,900 fr.), Wounded Man 
(11,000 fr.), Siesta (29,100 fr.)—Gaz. des 
B. Arts (1878), xvii. 514; xviii. 17, 371; 
(1882), xxv. 572; Lippincott’s Mag., xxi. 
631; Champier, l’Année artistique (1878), 
486; Claretie, Peintres, etc. (1882), 241; 
Du Camp, Beaux Arts, 219; Bruno Meyer, 
Studien, 94; Perrier, Etudes, 146 ; Rosetti, 
F, A., 112; Zeitschrift f. b. K., ii, 119; xi. 
183, 209 ; The Century, Feb., 1884 ; L’Art 
(1878), xii. 72; (1881), xxvii. 232; Temple 
Bar, xlii. 535. 

COURDOUAN, VINCENT (J OSEPH 
FRAN(OIS), born in Toulon, March 6, 1810. 
Landscape and marine painter, pupil of 
Paulin Guérin. Medals: 3d class, 1838 and 
1844; 2d class, 1847 ; L. of Honour, 1852. 
Appointed professor of design at the Naval 
School in Toulon in 1848. Works: Castle of 
Napoule, View of Bagnols, Gorges of Olli- 
oules, Coast of Provence, Arrival of Bey of 
Tunis at Toulon, Port of Algiers, Battle of the 
Romulus, Vessels driven close to Shore by a 
Storm, Evening among the Pines, Valley of 
Ardennet, Embarcation of Zouaves for the 
Crimea (1855) ; Harbour of Toulon, View of 
Bordighiera, Coast of Balagnier (1857) ; Pi- 
rates Chased (1859) ; French Troop Ship in 
Harbour of Hyéres (1861) ; Valley of Brous- 
san, Environs of Nersi (1864); Birckadem 
(1867) ; Desert in Egypt at Evening (1868) ; 
Coast of Provence, Morning (1869); Harbour 
of Brusc (1873) ; Environs of Hyéres (1874) ; 
Sunset after Heavy Weather on Coast of 
Provence (1875) ; Gorge of Malvoisin (1876) ; 
Gulf of Ciotat (1877); Beach at Hyéres, 
Evening near Hyéres (1878) ; Fountain at 
Notre-Dame-Du-Muy, Camogli in Gulf of 
Genoa (1879); Evening by Sea at Toulon, 
Shore of Argentiéres (1880); Harbour of 
Toulon, Entrance to Harbour of Toulon 
(1882) ; Point of La Croisette at Cannes, 
Villa Cloquet near Toulon (1883). 

COURSE OF EMPIRE, Thomas (ole, 
New York Historical Society ; canvas. A 


341 


COURT 


series of five pictures, representing a na- 
tion’s rise, progress, decline, fall, and deso- 
lation. Painted in 1832-4 for Luman Reed, 
New York. 1. (H. 3 ft. 3 in. x5 ft. 1 in.) 
Savage State or Commencement of Empire ; 
2. (H. 3 ft. 3 in. x5 ft. 2 in.) Arcadian or 
Pastoral State ; 3. (H. 4 ft. 2 in. x 6 ft. 3 in.) 
Consummation of Empire ; 4. (H. 3 ft. 2 in. 
x5 ft. 2 in.) Destruction ; 5. (H. 8 ft. 3 in. 
x5 ft. 1 in.) Desolation. Of this picture 
Frederic E. Church writes: “If I were per- 
mitted to select three from among all the 
landscapes I have ever seen, I should cer- 
tainly choose for one of them ‘ Desolation,’ 
the last of the five pictures of the ‘ Course 
of Empire.’” 

COURT-JESTERS IN ANTECHAMBER, 
Eduardo Zamacois, Mrs. A. T. Stewart, New 
York ; canvas. A group of hunchbacked 
jesters amusing themselves in the antecham- 
ber of a prince. The painter’s sarcastic hu- 
mour finds vent in making these unfortunates 
portraits of himself and of his artist friends. 
The one watching the stand of paroquets is 
Jules Worms, and the one throwing dice is 
Berne-Bellecour ; he himself is represented 
with ass’s ears, and his brother ig the page. 
—Art Treas. of Amer., i. 37. 

COURT, JOSEPH DESIRE, born at Rou- 
en, Sept. 11, 1798, died there, Jan. 23, 1865. 
Genre painter, pupil of Gros; won the grand 
prix de Rome in 1821. Medals: 1st class, 
1831 ; 2d class, 1855; L. of Honour, 1838. 
Works: Samson delivered to the Philistines 
(1821) ; Deluge, Faun in a Bath drageing 
in a Girl, Death of Ccesar (1827), Louvre : 
St. Peter sent by the Romans to Jerusalem 
(1836) ; Duc @’ Orléans as Lieut. General 
(1836), Versailles ; Return of St. Louis (1841); 
King giving Colours to the National Guard, 
Aug. 29, 1830, Versailles ; Flight of Goy- 
ernor of Constantine (1839) ; Duc d’ Or- 
léans laying the first Stone of the Agen 
Canal (1844). Among his many portraits 
are those of Mme. Adelaide and the Prince 
de Joinville, the King and Queen of Den- 
mark, Duc Decazes, Monsignor Sibour, and 
Pope Pius IX. (1855).—Larousse. 


COURTAT, LOUIS, born in Paris ; con- 
temporary. History painter, pupil of Ca- 
banel. Medals: 3d class, 1873 and ISifis 

Ist class, 1875. 

~ [_ Courta _ Works: Siesta 

4 (1873) ; St. Se- 

N bastian (1874) ; 

Leda (1875), Luxembourg Museum ; Hagar 

and Ishmael (1877) ; Spring-Time (1878) ; 

Eve and her Children (1879); Nymph (1880); 

Little Orange Girl (1881) ; Odalisque (1882) ; 
Venus Awakened (1884) ; Bathers (1885). 

COURTENS, FRANZ, born at Termonde, 
Belgium ; contemporary. Landscape and 
genre painter. Medal: 3d class, 1884, 
Works : Morning in the Campine (1881) ; 
Departure for Fishing, Dutch Village (1882); 
In the Cabbage Fields, Salt Meadows (1883). 

COURTOIS, GUSTAVE, born at Pusey 
(Haute-Sadne) in 1852. History and portrait 
painter, pupil of Gérdme. Medals: 3d 


class, 1878 ; 2d class, 1880 ; Munich, 1883. 
Works: Orpheus, Death of Archimedes 
(1876) ; Narcissus (1877), Luxembourg Mu- 
seum ; Lais in Hell (1878) ; Dante and Vir- 
gil in Hell (1880) ; Portraits (1881) ; Baya- 


Gustave Courtois 


i383 


guignon (Il Bor- 
gognone); in Italy 
called also Jacopo 
Cortese ; born at 
St. Hippolyte, 
Franche - Comté, 
in 1621, died in 
Rome, Noy. 14, 
1676. French 
school; battle 
painter, pupil of his father, Jean, and of 
Cerquozzi. Entered the Spanish military 
service, then went to Italy to resume his 
artistic studies at Rome. Inspired by Raph- 


ael’s fresco of the victory of Constantine 


342 


COUSIN 


over Maxentius, became a battle painter. In 
1655 became a lay brother in the order of 
_ the Jesuits, and for some time painted only 
sacred subjects. Pictures in Berlin, Cassel, 
Dresden, Florence, Munich, Paris, St. Peters- 
burg, Rome, and Stockholm galleries. His 
brother Guillaume C. (1628-1679) 
was a pupil of Pietro da Cortona, but 
followed the style of Carlo Maratti.—Ch. 
Blane, Ecole francaise ; Villot, Cat. Louvre. 
COUSIN, JEAN, born at Soucy near Sens 
(Yonne) about 
1500, died 1589. 
French school ; 
glass painter, 
history and min- 
lature painter, 
engraver, and 
sculptor. Stud- 
ied glass painting 


\\ with Hympe and 
Grassot. Much 
; renowned 
among his countrymen for his _ historical 
paintings. Works: Last Judgment, Louvre; 
Woman giving Alms, Brunswick Gallery ; 
Miniatures in 
Prayer Book of ’ (SE G 
Henry IL., Biblio- c&< 
théque nationale, 
Paris ; Descent 
from Cross (1521, Mentz), attributed to 
him.—Ch. Blanc, Ecole francaise ; Villot, 
Cat. Louvre. 

COUTOURIER, LEON LUCIEN, born 
at Macon, France ; contemporary. History 
painter, pupil of Danguin and Cabanel. 
Works: Attack of Navy Riflemen (1875) ; 
Vanguard Engagement (1876) ; Extra Duty 
on Water (1877) ; Alarm of the Chouans in 
1793, Tailor of Boqueneven (1878) ; Drum- 
mer School, Peasant of Guerchy (1879) ; An 
Alert (1880) ; The Recital (1881); Forced 
March (1883) ; The Baggage Master (1884) ; 
The Remount Depot (1885). 

COUTOURIER, PHILIBERT LEON, 
born at Chalon-sur-Saéne (Sadne-et-Loire), 
May 26, 1823. Animal painter, pupil of 


Nicolas Coutourier and Picot. Paints es- 
pecially poultry with great skill. Medals: 
3d class, 1855, 1861. Works: Peasant, 


Drinkers (1873); Conscripts of Revenge, 
Rhapsodist reciting to Sailors, Lard Soup 
(1874); Dado, Little Mother (1875) ; Young 
Girl and Poultry, Rat Council (1876); Grand- 
mother (1878); A Corner in the Yard 
(1880) ; Waiting for the Paste (1881) ; Two 
Friends (1884); Rat retired from the 
World, Rat Council (1885). 

COUTURE, THOMAS, born at Senlis 
(Oise), Dec. 21, 1815, 
died in Villiers le 
Bel (Seine-et-Oise), 
March 81, 1879. 
History and genre 
painter, pupil of 
Gros, and of Paul 
Delaroche. Although 
he won the 2d grand 
prix in 1837, and 
attracted attention 
by several able pictures in the course of the 
next decade, it was not until 1847 that 
Couture became celebrated by his Romans 
of the Decadence (Luxembourg Museum), a 
picture which in the united qualities of com- 
position, conception, drawing, and colour, 
has few if any rivals in modern art. His 
technical skill and great reputation brought 
him many pupils, among whom was the 
American artist William M. Hunt. He was 
selected by Napoleon III. to paint a ceiling 
for the Louvre representing the birth of the 
Prince Imperial, but having quarrelled with 
the Empress about the drapery of the 
child, he became hostile to the Government 
and seldom sent any pictures to the Salon. 
In 1867 he published an essay on art en- 
titled ‘Entretiens d’Atelier.” Medals: 3d 
class, 1844 ; Ist class, 1847 and 1855; L. of 
Honour, 1848. Works: Young Venetian 
after an Orgy (1840); Prodigal Son, Wid- 
ow, Return from the Fields (1841); Trouba- 
dour (1843); Jocunda, Love of Gold (1844), 
Toulouse Museum ; Gypsy Girl (1852); The 
Falconer (1855); Volunteers of 1793 (1856); 


343 


COX 


Baptism of the Prince Imperial (1857, un- 
finished); Return of the Troops from the 
Crimea; Pierrot’s Dull; The Bacchante ; 
Damocles (1872); Study for the Volunteers 
of 1793, Boston Museum of Fine Arts.— 
Claretie, Peintres, etc. (1882), 337; La- 
rousse ; Zeitschr. f. b. K., xvi. 101. 

COX, DAVID, born near Birmingham, 
April 29, 1783, died at Harborne Heath, 
near Birmingham, June 7, 1859. Landscape 
painter in water-colours ; began as a scene 
painter in Birmingham Theatre; went in 
1803 to London, where he became a teacher 
of drawing, sketching with his ‘pupils in 
Wales during the summer months. He re- 
moved to Hereford in 1815, returned to 
London in 1827, and settled at Harborne 
Heath in 1844. He was an excellent land- 
scape painter, and his works command high 
prices. Among them are: Weald of Kent, 
Hop Gatherers, Welsh Funeral, Chat Moss, 
Besom Makers, Deer Stalking, Windsor 
Castle, Vale of Clwyd.—Solly, Memoir 
(London, 1873); Hall, Life (London, 1881); 
Portfolio (1873), 89. 

COX, DAVID, born at Dulwich, near Lon- 
don, in 1809, died at Streatham Hill, Dec. 
4,1885. Landscape painter, water-colours ; 
son and pupil of the preceding. Associate of 
Society of Paintersin Water Colours. Works: 
View on the Menai (1872); Loch Katrine, Ben 
Lomond (1873); Rain on the Berwyn, Sun- 
day Morning in Wales (1875); Path up the 
Valley, Lyndale, On the Dee (1877); Pens- 
hurst Park, Hayfield (1878); On the Beach 
at Hastings (1882). 

COX, KENYON, born at Warren, O., 
Oct. 27, 1856. Figure painter; studied 
first in Cincinnati and Philadelphia, later, 
pupil in Paris of Carolus Duran and Gé- 
rome. Visited Europe in 1877, and re- 
mained in France with short intermissions 
until 1882. Member of Society of Ameri- 
can Artists. Studio in New York. Works: 
Head of Venetian Girl (1879); Lady in 
Black (1880); Pink and White (1881); Two 
Portraits (1882); Afternoon, Thistledown 
(1883); A Corner Window (1884). 


COXCYEN (Cocxie, Coxis), MICHIEL 
VAN, born in Mechlin in 1499, died there 
March 5, 1592. Flemish school; pupil 
of his father, 


f Cae , and of Bern- 
HS ce hard van Or- — 
DS Se ley, whom he 
(ES oy succeeded ag 
Oi court painter to 
pF | px Mary of Hun- 
{/} | iy IN gary ; afterward 
j WT Lp c\\N\. studied several 


/ Y)  - Ky years in Rome, 
ly where he was 
called the Flemish Raphael. Also painted 
much in Brussels. He left numerous works 
of unequal merit. His compositions, fre- 
quently closely imitated from Raphael, 
show much taste and beauty in the heads, 
but the attitudes are artificial and exagger- 
ated. Works: Martyrdom of St. Sebastian 
(1575), do. of St. Blasius and St. George 
(3), St. Margaret, Triumph of Christ, Ant- 
werp Museum; Death of Virgin, Christ 
crowned with Thorns, Last Supper, Brus- 
sels Museum ; Birth of Virgin, Presentation 
of do., Death of do., St. Cecilia, Madrid 
Museum. His copy of the great altarpiece 
of the Van Eycks, the Ad- 
oration of the Lamb, made OSAN ’ 6 g 
for Philip IL in 1559, is 


partly in the Berlin Mu- ES. An: 
seum, partly in the Munich nas 


Gallery, and partly in 
Ghent Cathedral. His son and pupil, Raph- 
ael van Coxcyen, guild of St. Luke 1585, 
had less talent than his father.—Allgem. d. 
Biogr., iv. 587; Biog. nat. de Belgique, iv. 
456; Ch. Blane, Ecole flamande; Brock- 
haus, iv. 653; C. & C., Flemish Painters, 
66, 196 ; Michiels, v. 217; Nagler, Mon., iv. 
526. 

COYPEL, ANTOINE, born in Paris, 
April 11, 1661, died there, Jan. 1, 1722. 
French school ; history painter, pupil of his 
father Noél, with whom he went to Rome 
in 1672, and received a prize from the Acad- 
emy of St. Luke. 


344 


After three years he re- — | 


COY PEL 


turned to Paris, and there obtained a second 
academical prize in 1676. In his twentieth 
year he became a 
- member of the 
Academy, in 1684 
professor, and in 
1714 director. 
In 1716 he was 
nominated court 
painter, and in 
1717 ennobled. Ks 
Works: Athaliah : 
driven from the 
Temple (1704); Susanna accused by the 
Elders, Esther before Ahasuerus (1704) ; 
Rebecca and Eleazer, Flora and Zephyrus, 
Young Girl caressing a Dog, Louvre.—Ch. 
Blanc, Ecole francaise; Wurzbach, Die 
franz. Maler des xviii. Jahrh., 14; Villot, 
Cat. Louvre. 

COYPEL, CHARLES ANTOINE, born 
in Paris, July 
11, 1694, died 
there, June 14, 
1752. French 
school; history 
and portrait 
painter, son 
and pupil of 
Antoine. 
Member of 
the Academy 

ctor 1746, and 
court painter, 1747. Works: Perseus and 
Andromeda, Angelica and Medor (1733), 


Louvre ; Medea 
pursued by Ja- ( 
son (1715); Sac- A YPE, 
rifice of Abra- 
ham; series of Co 

pictures from 

Don Quixote, 

Compié gne.— ; 

Ch. Blane. Ecole A C. vf ou y 69 4 
francaise ; Wurzbach, Die franz. Maler des 
xvill. Jahrh., 9. 
COYPEL, NOEL (Natatis), born in Paris, 
Dec. 25, 1628, died there, Dec. 24, 1707. 


French school; history painter, pupil in 
Orleans of one Poncet, and in Paris of Quil- 
lerier; em- 
ployed in 1646 
by Charles Er- 
rard as his as- 


sistant in dec- =H a 
_ 7 t <4" os AA 
rating the SZ WOK, 
Louvre, where a CN Cae poe 
. e des 
after 1655 he => \ ; 
\ 


x ; Z 

AWN NS > \S 
painted inde- | \\ a) \ 
pendently for \ W'\\_ \ 
the king as well as at the Tuileries and 
at Fontainebleau. In 1664 he became 
professor and in 1672 director of Academy 
in Rome; after a three years’ residence 
there, during which he was received into the 
Academy of St. Luke, he returned to Paris, 
where he became rector of the Academy in 
1690, and director in 1695. Works: Solon 
maintaining the Justice of his Laws (about 
1675), Ptolemy Philadelphus emancipating 
the Jews (about 1675), Trajan giving pub- 
lic Audiences (about 1675), Alexander Sev- 


erus distributing Wheat in Time of Famine 

(about 1675), Malediction of Cain (1668), 

Hercules and Achelous (1704), Hercules, 

Dejanira, and Nessus (1704), Apollo crowned 

by Victory, and others, Louvre. His son, 

Noel Nicolas 

(1692-1734), 

was a painter 

y| and engraver. 

His Venus, Bac- 

chus, and Cupid (1727) isin the Louvre.—Ch. 

Blane, Ecole francaise ; Villot, Cat. Louvre. 
CRAES- 
BECKE, JOOST 
VAN, born at 
Neerlinter, Bra- 
bant,in 1606, died 
in Brussels be- 
fore 1662. Flem- 
ish school ; genre 
painter, pupil of 

Adrian Brouwer; 

admitted to Ant- 

werp guild in 1633 as “baker and painter,” 


345 


CRAEYER 


and to Brussels guild in 1651. Works: Flem- 
ish Tavern, Brussels Museum; Interior, Ant- 
werp Museum; Matrimonial Contract, Mad- 
rid Museum ; Peasant with Felt Cap, Berlin 
Museum; Soldiers conversing with Women, 


Vienna Museum; Craes- 
Q, 2 


becke’s Studio, Aremberg 


Gallery, Brussels; do., 
Louvre; Woman _ baking 
Pancakes, Mr. Henderson’s Collection. — 


Allgem. d. Biogr., iv. 544; Biog. nat. de Bel- 
gique, iv. 474; Ch. Blane, Ecole flamande ; 
Burger, Gallerie d’Aremberg (1859), 88 ; 
Journal des B. Arts (1869), 50 ; (1872), 153, 
162 ; Michiels, ix. 168, 450 ; Rooses (Reber), 
404, 

CRAEYER, CASPAR DE, born in Ant- 
werp, baptised 
Nov. 18, 1584, died 
in Ghent, Jan. 27, 
1669. Flemish 
school; history 
painter, pupil of 
Raphael van Cox- 
cyen, in Brussels, 
\ where he was re- 
ales \\ | gistered master of 

‘\  \\/ the guild, Nov. 3, 
1607, and its pres- 
ident in 1614-15. He was director from 
1612 of the King of Spain’s art collections, 
was highly esteemed by Albert and Isabella, 
governors of the Netherlands, and was court 
painter to their successor, Cardinal Infant 
Ferdinand, in 1685-41; removed to Ghent 
in 1664. In friendly relations with Rubens 
and Van Dyck, the former of whom painted 
his portrait. He was by far the foremost 
among the contemporaries of Rubens in the 
Spanish Netherlands. Works: Portrait of 
Cardinal Infant Ferdinand, Madonna adored 
by Saints, St. Augustin in Kestacy, Louvre; 
Khas in the Desert, Antwerp Museum ; Mi- 
raculous Draught of Fishes, Assumption of 
St. Catherine, Martyrdom of St. Blasius, 
Pieta, Adoration of the Shepherds, eight 
others, Brussels Museum; Judgment of Solo- 
mon, Coronation of St. Rosalia, Martyrdom 


of St. Blasius, Triumphal Arch, Ghent Mu: 
seum ; Adoration of Shepherds, Amsterdam 
Museum ; Descent from Cross, Rotterdam 
Museum ; Martyr buried Alive, Lille Muse- 
um ; Portrait of Cardinal Infant Ferdinand, 
Madrid Museum; Madonnaand Saints (1646); 
Munich Gallery ; Madonna and Saints, St. 
Theresa and Virgin, An- 
gelic Salutation, Vienna we 
Museum; Altarpieces in 
Cathedral of Aix, Prov- 
ence, and of Amberg, Upper Palatinate. — 
Allgem. d. Biogr., iv. 571; Biog. nat. de Bel- 
gique, v. 27; Ch. Blanc, Ecole flamande ; 
Cat. du Musée d’Anvers (1874), 102; Mi- 
chiels, vill. 890 ; Rooses (Reber), 337. 
CRAMER, ALFONS VON, born at Smyrna 
in 1834. Genre and portrait painter; studied 
in Florence, and in 1862—76 in Disseldorf 
under Wilhelm Sohn, meanwhile travelling 
in Turkey, Greece, Asia Minor, and Egypt. 
Works: St. John (1866), Smyrna Cathedral; 
Rendezvous, Eavesdropper, Portrait of Sul- 
tan Abdul Aziz.—Miiller, 118. 
CRANACH, LUCAS, the elder, born at 
Kronach, Ba- 
varia, in Oct. 
(4 ?), 1472, 
died in Wei- 
mar, Oct. 16, 
1553.  Ger- 
man school; 
history and 
Rk portrait 
| I painter. His 
family name 


was Miiller, and he was his father’s pupil.. 


In 14938, he went for two years to the Holy 
Land with the Elector Frederic the Wise, 
who, on their return, gave him an apartment 
in his palace at Wittenberg, where Cranach 
established a workshop for all kinds of pic- 
torial and decorative work, a printing press, 
and a pharmacy (burned in 1871). He was 
held in high esteem there, and was twice 
elected burgomaster. In 1509, when Fred- 
eric sent him to the Netherlands, he painted 


the portrait of Charles V., aged eight, for 


346 


=o 


CRANACH 


the Emperor Maximilian. Cranach was 
court painter to three successive Electors, 
Frederic the Wise, John the Constant, and 
_ Frederic the Magnanimous, whose captivity 
he shared after the Battle of Muhlberg, at 
Augsburg, where he met and painted Titian 
in October, 1552. The latter part of his life 
was spent at Weimar, where he commenced 
to paint one of his finest pictures, but died 
before its completion. The pictures in his 
first manner were painted before 1520, then 
followed a period of transition to his second 
manner, which dates from 1530. Works: 
Repose in Egypt (1504), Palazzo Sciarra 
Colonna, Rome; The Fourteen Helpers in 
Need (1505), St. Mary’s, Torgau; Last 
Judgment (1511-12) ; Madonna with Grapes 
(1512), Munich Gallery ; Descent from the 
Cross, St. Mary’s, Liibeck ; Rosary, Bamberg 
Cathedral; SS. Willibald and Walpurga 
(1520), Bamberg Gallery; Adoration of Magi, 
St. Wenceslaus, Naumburg ; Madonna with 
Marriage of St. Catherine (1516); Madonna, 
St. Jacob’s, Tunsbruck; White Madonna, 
Kénigsberg Cathedral ; Madonna under the 
Apple Tree, Hermitage, St. Petersburg; Ma- 
donna unter Tannen, St. John’s, Breslau ; 
Madonna, Carlsruhe Gallery; Madonna, Er- 
furt Cathedral; Magdalen (1525), Cologne 
Museum ; Altarpiece (1529), Marienkirche, 
Halle; Adam and Eve (2), Berlin Museum ; 
replicas, Brunswick Gallery and Vienna Mu- 
seum; Adam and Eve (1528), Uffizi, Flor- 
ence; Judith and Holofernes at Table (1531), 
Judith after the Deed (1531), Gotha Gallery; 
Judith with Head of Holofernes, Vienna, 
Dresden, Stuttgart, and Cassel Galleries ; 
Samson and Delilah, City Hall, Augsburg ; 
Christ (1534), Meissen Cathedral ; Christ 
and the Adulteress, Munich Gallery; replica, 
Maurice Chapel, Nuremberg ; do., National 
Gallery, Pesth; Christ and the Children, 
Stadtkirche, Naumburg; do., Pauliner- 
_kirche, Leipsic ; Nine Passion Scenes, three 
in Museum, six in Royal Palace, Berlin ; 
Fall and Redemption (1529), Gotha Gallery ; 
same subject (1529), Prague Gallery; Altar- 
piece, Stadtkirche, Weimar; Last Supper, 


Stadtkirche, Wittenberg ; Raising of Laza- 
rus, Venus and Cupid, Apollo and Diana, 
Berlin Museum ; Cupid stung by Bees, Wei- 
mar Gallery ; Venus and Cupid, Liechten- 
stein Gallery, Vienna ; Judgment of Paris, 
Carlsruhe Gallery ; Faun Family, Hercules 
Spinning, Death of Lucretia (1524), Munich 
Gallery; same subject (1532), Vienna Acade- 
my; Fountain of Youth, Berlin Museum ; 
Dying Scene (1518), Leipzig Museum ; Old 
Rich Man and Poor Young Girl, Vienna 
Academy and Prague Gallery; Stag Hunt 
(1529); Crucifixion, Stadtkirche, Weimar ; 
Great Hunt at Moritzburg (2, 1543, 1544), 
Madrid Museum; Portraits: Christian Scheu- 
erl (1509), Nuremberg Museum ; Duke AlI- 
brecht the Bold and Duchess Sidonie (1519), 
Historical Museum, Dresden ; Luther, Lu- 
ther’s Wife, Melanchthon, Elector Frederic 
the Wise, John Frederic the Magnanimous, 
Cardinal Albrecht von Brandenburg (1525), 
Darmstadt Gallery (1527), Berlin Museum ; 
several other Portraits of Luther and Wife 
and of the Saxon Electors named, Portrait 
of Cranach (1550), Uffizi, Florence, and 


3 
Tis 
0° 5 Be pais 0 
Poy ; 


many others. — Allgem. d. Biogr., iv. 559 ; 
Ch. Blanc, Ecole allemande; Brockhaus, iv. 
657; Dohme, 1i.; Kugler (Crowe), i. 188; 
Kugler, Kl. Schriften, 11. 32; Kunst-Chronik, 
xv. 684; xix. 607; Schuchardt, Lucas C.’s 
Leben und Werke (Leipsic, 1851-71); War- 
necke, Lucas C. d. Altere (Gorlitz, 1879); 
W. & W., ii. 419; Zahn’s Jahrbiicher, vi. 124; 
Zeitschr. f. b. K., viii. 322. 

CRANACH, LUCAS, the younger, born 
at Wittenberg, Oct. 4, 1515, died at Wei- 
mar, Jan. 25, 1586. German school; pupil 
of his father, Lucas the elder, whom he suc- 


z 


6 


347 


CRANCH 


ceeded in his studio at Wittenberg and as 
burgomaster. Many works attributed to 
the elder were doubtless painted by the 
younger Cranach, whose only certain pict- 
ures are those dated after his father’s death 
(1553). Works: Christ taken Captive 
(1538), Vienna Museum; Hunt (1544), Vi- 
enna and Madrid Museum; John Baptist 
preaching (1549), Brunswick Gallery ; Ado- 
ration of Shepherds, Crucifixion, Conversion 
of Paul (after 1553), Stadtkirche, Witten- 
berg; The Lord’s Vineyard (1569); Resur- 
rection (1554) ; 
Museum ; Raising of Lazarus (1558); Mar- 
ried Couple (1564), Vienna Museum ; Con- 
version of Paul, Maurice Chapel, Nurem- 
berg ; several in Dresden Gallery and His- 
torical Museum.—Alleem. Biogr., iv. 562; 
Dohme 1i.; Kugler (Crowe), 1.195; W. & 
W., ii. 432. 

CRANCH, CHRISTOPHER PEARSE, 
born at Alexandria, Va., March 8, 1813. 
Landscape painter; studied in Italy in 
1846-48, lived and painted in Paris and 
Italy in 1853-63. Professional life in 
America passed in New York and Boston. 
Elected N.A. in 1864, but has not exhibited 
since 1871. Mr. Cranch has also illus- 
trated books; he is at present living in 
Cambridge, Mass. Works: Afternoon in 
October (1867); Washington Oak, opposite 
Newburg, N. Y. (1868); Val de Moline— 
Amalfi, Italy (1869); Roman Citizen, Forest 
of Fontainebleau—Study, Neapolitan Fish- 
erman, Venice (1870); Venetian Fishing- 
Boats (1871). 

CRANE, BRUCE, born in New York in 
1857. Landscape painter, pupil of A. H. 
Wyant. First exhibited at the National 
Academy in 1879. Studio in New York. 
Works : Landscape—Autumn, T. B. Clarke, 
New York ; Hillside, Old Mill Pond—Long 
Island (1879); On the Shrewsbury River, 
After the Rain (1880); Moor—Nantucket, 
Inlet on the Jersey Shore, Morning in 
Spring—Long Island (1881) ; In Blossom 
Time, Suburban Road—East Hampton, 
Study from Nature—East Hampton (1882); 


Crucifixion (1557), Leipsic | , 


Winter (1883); The Waning Year (1884); 
Indian Summer, A Moor—Dartmouth, Mass. 
(1885). 


—ee ——- “1 -- 


CRANE, WALTER, born at Liverpool in — 


1845. 


dent of W. J. Linton. 


and remained two 
years. Although he 
paints in oil and 


best known by his admirable illustrations 


Genre paint- — 
er; son and pupil of © 
Thomas Crane, por- — 
trait painter, and stu- — 


In 1871 went to Italy — 


water-colours, he is © 


for children’s books, such as “Beauty and — 


the Beast,” ‘‘Baby’s Opera,” “ Cinderella,” 
‘“* Goody 'Two Shoes,” ete. 
of Spring (1873); Plato’s Garden (1875); 
Renaissance of Venus (1877) ; Proserpine 


Works: Herald 


(1878); Haworth Castle, The Sirens (1879); La. | 
Cucumela—Sorrento, Truth and the Travel- | 


ler (1880) ; 
Spindleton Heugh (1881); Dunstanborough 
Castle, Fate, Tiber, Pisa (1882); Diana and 
the Shepherd, Sea-Blooms (1883); Bridge of 
Life (1884); Pandora, Freedom, Loch Bar, 
Aros Bridge—Isle of Mull, Aros Moor, ib., 
Cliff at Swanage Bay—Dorset (1885); Skele- 
ton in Armour, frieze of dining-room, Miss 
C. L. Wolfe, Newport, R. I 

CRATINUS, painter, of Athens. Pliny 
says (xxxv. 40 [139]), that he painted in the 
Pompeion. He was the father and master 
of Jrene. Clein. Alexandr. Strom., iv. 124. 

CRATO, monochromatic painter, of 
Sicyon, early period.—Athenag. Leg. pro 
Christ., 14 (59, ed. Dechair). 

CRANK, CHARLES ALEXANDRE, born 
at Douchy (Nords), Jan. 27, 1819. L. of 
Honour, 1881. Works: Annunciation, As- 
sumption, Visitation (1877); St. Vincent de 
Paula led to Heaven by Faith, Hope, and 
Charity (1878); Two Scenes in Life of St. 
Vincent de Paula (1879) ; Portrait of Artist’s 
Father (1880); St. Francis de Sales present- 
ing Vincent de Paula to his Order (1882); 


Infancy of the Holy Virgin (1883); Vincent — 


348 


Europa, The Laidley Worm of | 


CREATION 


de Paul (1884); Marie (1885).—Bellier, i. 
319. 

CREATION, Michelangelo. See Adam ; 
Eve ; Sun and Moon; Trees and Plants. 

CREDI, LORENZO DI, born in Florence 
in 1459, died there, 
waneel2, 1637. 
Florentine school; 
son of Andrea di 
Credi, goldsmith ; 
pupil and assist- 
ant of Verrocchio 
at same time with 
Leonardo da Vinci 
and Perugino. 
Under Verroc- 
chio’s care he long laboured in copying either 
his master’s or Leonardo’s sketches, with such 
accuracy that Vasari says it was difficult to 
distinguish his work from the originals. 
Lorenzo followed Leonardo, and was but 
slightly affected by Perugino. His works 
are all easel pictures, remarkable for careful 
execution and minute finish. His favour- 
ite subject was the Holy Family. The best 
and oldest of his altarpieces is the Madonna 
and St. John the Baptist in the Duomo of Pis- 
toja, which is strongly reminiscent of Leo- 
nardo. His Madonna, Mentz Museum, is 
almost equally successful, as is the Holy 


Family, Palazzo Borghese, Rome. The Ma- 

Academy ; and Madonna and Virgin adoring 
the best ex- 

Italy, 111. 403 ; Vasari, ed. Mil., iv. 563, 575 ; 

i. 37. 

Bolgnese school. Chiefly a decorative paint- 


donna with Saints, Louvre; Baptism of 
Christ, Uffizi, Florence; Nativity, Florence 
Infant Christ, National Gallery, London, 
are also among 

Cy ; amples of his 

6 - work.—C. &C., 

Burckhardt, 581, 622, 855; Ch. Blane, Ecole 
florentine ; Liibke, Gesch. ital. Mal., i. 368 ; 
CREMONINI, GIOVANNI BATTISTA, 
born at Cento (?), died in Bologna in 1610. 
er. Painted some good historical subjects, 
but is noted for his pictures of animals, real 


and imaginary. His Christ on the way to 
Calvary and Christ meeting St. Veronica, a 
single picture dated 1598, is in the Bologna 
Gallery. Other examplesin churches of Bo- 
logna, as, e.g., fresco, —the Annunciation, ceil- 
ing of Sacristy in S. Martino Maggiore, 
and Coronation of the Madonna, lunette, 
staircase, S. Maria del Bosco.—Malvasia, i. 
225 ; Lanzi, iii. 538 ; Ch. Blanc, Ecole bolo- 
naise ; Gualandi, 50, 126. 

CRESCENZIO, ANTONIO, of Palermo, 
15th century. Neapolitan school. No rec- 
ords of him. His fresco, Triumph of Death, 
in the court of the hospital at Palermo, is a 
fanciful production which may have been 
suggested by that of the Campo Santo, 
Pisa. The figures are thrown together with- 
out much regard for appropriate distribu- 
tion, but are drawn with great minuteness 
of outline. It recalls the Sanseverini, to 
whom, however, Crescenzio was superior.— 
C. & C., N. Italy, ii. 110. 

CRESPI, DANIELE, born in Milan in 
1590, died there 
in 1630. Lom- 
bardo - Milanese 
school; son and 
pupil of Gio. 
Battista Crespi 
(I1Cerano); later 
studied under 
Giulio Cesare 
Procaccini; 
practised the : 
maxims of the school of the Carracci and 
became famous, but was cut off, with all his 
family, by the plague. Several of his pict- 
ures, March to Calvary, Last Supper, Holy 
Family, Baptism of Christ, are in the Brera; 
others in churches in Milan, and in the Cer- 


D. Creer 1627 


tosa of Pavia. — Lanzi, ii. 520; Ch. Blane, 

Ecole milanaise ; Burckhardt, 765 ; Lavice, 

Revue des Musées d'Italie (Paris, 1862). 
CRESPI, GIOVANNI BATTISTA, called 


349 


CRESPI 


Tl Cerano, born at Cerano, near Novara, in 


1557, died at Milan in 1633. Lombardo- 
Milanese school; history painter; pupil 
of Procaccini, then studied in Rome and 
Venice and settled in Milan, where he was 
patronised by the Duke and by Cardinal 
Federigo, and made member of the Acad- 
emy, and em- 

s) Tt 6 6) ployed as archi- 
Gp tect, sculptor, 

GGL and painter. 
3 Apart from oc- 
casional man- 

nerism, ‘his style 
is free and 

spirited. Works: Assembly of Francis- 
cans ; Christ crowned with Thorns (ascribed 
to Correggio), Berlin Museum; Christ ap- 
pearing to SS. Peter and Paul, Vienna Mu- 
seum ; Madonna del Rosario, Brera, Milan ; 
Baptism of St. Augustine, S. Marco, Venice. 
CRESPI, GIUSEPPE MARIA, called Lo 
Spagnuolo, born in Bologna in 1665, died 
there in 1747. Bolognese school; history 
and portrait painter ; pupil of A. M. Toni, 
D. M. Canuti, C. Cignani, and G. A. Burrini. 
Painted in Venice, Parma, and Modena, and 
executed works in Palazzo Pitti, Florence, 
for Grand Duke Ferdinand. Works: Holy 
Family, Portrait of Old Man, Palazzo Pitti ; 
his own portrait, Uffizi, Florence ; St. Stan- 
islaus, Gest, Ferrara; St. Anthony the Ab- 
bot, S. Niccold, Bologna ; Madonna with 
Saints, Bologna Gallery ; Madonna, Ecce 
Homo, and 11 others, Dresden Museum ; 
Weeping Nun, Munich Gallery ; School, 
Louvre ; Holy Family, Death of St. Joseph, 
his own portrait, Hermitage, St. Peters- 
burg ; Chiron teaching Achilles to Shoot, 
Aineas and Cumean Sibyl, Vienna Museum. 
CRESTI, DOMENICO. See Passignano. 
CRESWICK, THOMAS, born in Shef- 
field, England, Feb. 5, 1811, died at Bays- 
water, Dec. 28, 1869. Pupil in Birming- 
ham of J. V. Barber ; went in 1828 to Lon- 
don and began to exhibit Welsh and Irish 
scenes, and after 1840 views from North of 
England ; became A.R.A. in 1842 and R.A. 


in 1851. His Pathway to the Village Church 
(1839) is in the National Gallery. Other 
works: Pleasant Way Home (1846), Passing 
Showers (1849), Wind on Shore (1850), Old 
Trees (1850), Mountain Lake—Moonrise 
(1852), Across the Beck (1864), Change- 
able Weather. (1865).—Redgrave ; Cat. Nat. 
Gal.; Athenzeum, 1870 ; Art Journal (1856), 
141; Sandby, ii. 289. 

CRETIUS, KONSTANTIN, born at Brieg, 
Silesia, Jan. 6, 1814. Genre, history, and 
portrait painter, pupil of Berlin Academy 
under Wach; went in 1839 to Brussels, 
Paris, and Italy ; in Rome until 1842, and 
after his return to Berlin painted a number 
of historical genre pictures. In 1846 Fred- 
erick William IV. sent him to Constantino- 
ple to paint a portrait of Sultan Abdul Med- 
jid. In 1860 he became a member of the 
Berlin Academy, and afterwards professor. 
Works: Contest with the Syrinx (1836); 


Greek Emigrants (1836); Jacob Mourning for ~ 


Joseph (1838); Ave Maria, Vintage at Ischia, 


Italian Beggar, Notary Public, Pettifogger 


(1839-42); The Savoyards, Odalisque, Siesta, 
Flower Festival in Genzano, Carnival in 
Rome, Adorning the Bride, A la bella vista, 
Tourists in Switzerland (1842-59); Resur- 
rection (1859); Louis XIV. and Maria Man- 
cini playing Chess (1859); Cromwell and 
the Independents ; Salzburg Protestants in 
Berlin in 1732; Knighting of Prince AI- 
brecht of Prussia; Order of St. John in the 
Schleswig-Holstein Campaign; Aiding Chris- 
tians in Syria; Louis XIV. in Parliament 
(1870); Cromwell prevented from Embarking 
for America (1874); On Wedding Trip to 
Italy, Tourists in Switzerland (1876); Re- 
freshing Draught (1839), Captured Cav- 
aliers before Cromwell (1867), National 
Gallery, Berlin.—Brockhaus, iv. 673 ; Miil- 
ler, 119; Rosenberg, Berl. Malersch., 39. 

CREVALCORE. See Antonio da Creval- 
core. 

CRISCUOLO, GIOVANNI FILIPPO, 
born at Gaeta about 1510, died in Naples in 
1584. Neapolitan school; pupil of Andrea 


da Salerno ; afterward studied with Perino | | 


250 


CRISTO 


del Vaga in Rome, and diligently copied the 
works of Raphael. Took high rank among 
the Neapolitan artists, and executed many 
works for churches. An Adoration of the 
Magi and a Madonna with Saints (triptych), 
and a Martyrdom of St. Stephen, are in the 
Naples Museum. His younger brother, 
Giovanni Angelo (died about 1573), pupil of 
Marco da Siena, was also a painter of con- 
siderable talent, and left some good pictures 
in Naples churches.—Lanzi, i. 23, 26 ; Ch. 
Blanc, Ecole napolitaine. 

CRISTO DEI CAPPUCCINI. See Cruci- 
fixion, Guido. 

CRISTO DELLA MONETA. See Tribute 
Money. 

CRISTOFORO DA PARMA. See Caselli, 
Cristoforo. 

CRISTUS, PETRUS, (Pieter Christoph- 
sen), born at Baerle near Deynze, Belgium, 
about 1400, died in Bruges, after 1472. 
Flemish school; probably pupil of Jan van 
Eyck, whose style he imitated. Bought 
freedom of Bruges, July 6, 1444, registered 
in guild of St. Luke in 1450, and in 1469 
was one of the notables. In March, 1472, 
he officiated as umpire for the guild in a 
dispute with Pierre Constain, the ducal 
painter. Works: Portrait of Edward Grim- 
ston (1446), Earl of Verulam, England ; Ma- 
donna and Saints (1447), Stadel Institute, 


Frankfort; St. Eloi and the Bridal Pair | g 


(1449), Oppenheim Gallery, Cologne; Altar 
wings (1452)—Annunciation, Birth of Christ, 
and Last Judgment (1452)—and Portrait of 
a Lady, Berlin Museum; Altar wings— 
Crucifixion, Last Judgment—Hermitage, St. 
Petersburg ; Madonna, Turin Gallery ; pict- 
ure in four compartments—Annunciation, 
Visitation, Nativity, and Adoration of Magi 
—Madrid Museum; Kneeling Figure and 
Saint, Copenhagen Gallery; portrait of 
Marco Barberigo, National Gallery, London, 
attributed to G. van der Meire (?).—Allgem. 
d. Biogr., iv. 598 ; Biog. nat. de Belgique, 
iv. 505; C. & C., Flemish Painters, 185 ; 
Dohme, 1i.; Michiels, ii. 248, 364, 396 ; i111. 
420; W. & W., ii. 25. 


CRIVELLI, CARLO, born in Venice about 
1430-40, died after 1498. Venetian school ; 
pupil of Antonio and Bartolommeo da Mu- 
rano, whose studio he entered probably 
about 1450. Settled in Ascoli; as early as 
1468 began to paint exclusively in the cities 
of the Marches, and laboured there to the 
end of his days. In 1490 he was knighted 
by Prince Ferdinand of Capua, but this did 
not affect the steady exercise of his profes- 
sion. He was a painter of remarkable tal- 
ent, fond of elaborate detail, never careless 
in work, and as conscientious as he was 
skilful. At times he painted with the mys- 
tic feeling of Angelico, but his figures are 
often exaggerated in action and mannered 
in style. Crivelli never abandoned the sys- 
tem of tempera in which he had been 
taught, and while other artists were trying 
oils, worked on in the old method with great 
energy and success. No pictures of the 
period have better resisted the ravages of 
time than his, as numerous examples in the 
Brera at Milan, the Berlin Museum, the 
Vatican, the Kensington Museum, the Na- 
tional Gallery, and Dudley House, London, 
testify. Among his best works are: Ma- 
donna della Rondine, Madonna with Saints 
(1476), Madonna and Saints (1482), Brera, 
Milan ; Annunciation (1486), National Gal- 
lery, London ; Madonna with Saints, Dud- 


OPVS‘KAROLI-CRIVELLI*-VENET << | 


——— soe “A 


ley House; and Pieta, Vatican.—C. & C., 
N. Italy, i. 82; Burckhardt, 591; Seguier, 
51; Ch. Blanc, Ecole vénitienne ; Libke, 
Gesch. ital. Mal., 1. 519. 

CRIVELLI, LUCREZIA. See Belle Fér- 
onniere. 

CRIVELLI, VITTORIO, Venetian school, 
end of 15th century. A kinsman and medi- 
ocre imitator of Carlo Crivelli ; earliest effort 
a rudely executed picture (1481) at Fermo, 
latest works (1489-90) at Monte San Mar- 
tino. Other paintings executed in the in- 
terval may be seen at Bologna, Palermo, 
Massa, Milan in the Brera, and London in 


351 


CROFTS 


the Kensington Museum.—C. & C., N. Italy, 
i. 96; Burckhardt, 592. 

CROFTS, ERNEST, born at Leeds, Eng- 

BE land, Sept. 15, 

| a a 1847. Genre 

Kw painter ; pupil in 


G 
( 


a WD London of A. B. 
I Oe, 4) Clay, and in Diis- 
Ue / seldorf of E. J. 


fr 2 /) Hunten. Paints 
qj chiefly military 
| j \ subjects. Elect- 

, Malan) ed an A.R.A. in 

1878. Works: 

A Retreat (1874); Ligny (1875) ; Morning 

of Waterloo (1876); Ironsides returning 

from Sacking a Cavalier’s House, Cromwell 

at Marston Moor (1877); Wellington’s March 

from Quatre Bras to Waterloo (1878) ; Even- 

ing of Waterloo (1879) ; George IL at Det- 

tingen (1881); At the Farm of Mont St. 

Jean— Waterloo (1882); At the Sign of the 

Blue Boar—Holborn, Charles I. going to 

Execution (1883) ; Wallenstein (1884).—Art 

Journal (1882), 22, 31; Athen., May 18, 1878. 

CROIZETTE MLLE., Portrait, Carolus- 
Duran. Equestrian portrait of Mlle. Sophie 
Croizette, the actress, She is mounted on 
a black horse, head to left, and is looking 

_ full face.—Philadelphia Exhibition, 1876. 

CROLA, GEORG HEINRICH, born in 
Dresden, June 6, 1804, died at Ilsenburg in 
the Hartz, May 6, 1879. Landscape painter, 
pupil in Dresden of Klengel and studied 
from nature and after the Dutch masters in 
Dresden Gallery. Was in service of the 
Duke of Coburg-Gotha, in 1828-30, and 
then in Munich until 1840, when he settled 
in the Ilse Valley. Works: Great Oak 
Landscape ; Storm on Lake Chiem; After- 
glow in the Alps; The Traun Falls; On 
Lake Starenberg; Ammer Lake; Teuto- 
burg Forest ; Outlook from the Brocken.— 
Kunst-Chronik, xv. 530. 

CROLA, HUGO, born at Isenburg in the 
Hartz, in 1841. Portrait painter, son of 
Heinrich, pupil of Berlin Academy ; then 
of Diisseldorf Academy under Bendemann, 


Karl, and Wilhelm Sohn. His portraits 
found great favour at the Vienna Exhibi- 
tion, 1873, and Munich Exhibition, 1879. 
In 1877 he became professor at the Diissel- 
dorf Academy. Painted also genre scenes, 
and in 1871 an altarpiece for a church in 
Courland.—Miiller, 327. 

CROME, JOHN, called Old Crome, born 
in Norwich, England, Dec. 21, 1769, died 
there, April 22, 1821. Brought up a coach 
painter, formed himself by studying nature 
and pictures of the Dutch school. With 
one exception, the Blacksmith’s Shop (1809), 
all his pictures are landscapes painted with 
sweetness of colour, richness of tone, and 
truth. He was a genuine student of nature 
who delighted in painting lanes, heaths, and 
river banks, with effects of sunlight and 
moonlight. Mousehold Heath, in the Na- 
tional Gallery, is perhaps his masterpiece. 
He founded the Norwich School of Arts in 
1805, and may be regarded as the father of 
the Norwich school of landscape painting, 
of which Vincent, Stark, and Cotman were > 
the leading artists. His son, John Bernay 
Crome (1793-1842), was an indifferent land- 
scape painter.—Ch. Blanc, Ecole anglaise ; 
Portfolio (1879), 33, 48. 

CROMWELL AND CHARLES L, Paul 
Delaroche, Nimes Museum; canvas. Sub- 
ject from “Quatre Stuarts,” of Chateaubri- 
and. Cromwell, standing beside the coffin 
in which repose the remains of Charles L, 
has lifted the lid, and is gazing intently on 
the face of the dead. Salon, 1831. En- 
graved by Henriquel Dupont.—Clément de 
Ris, 11. 210 ; Larousse, v. 583. 

CROPSEY, JASPER FRANCIS, born at 
Rossville, N. Y., Feb. 18, 1823. Landscape 
painter, pupil of Edward Maury. Visited 
England, France, Switzerland, and Italy in 
1847 ; went abroad again in 1855, and spent 
seven years in London. Elected N.A. in 
1851. Studio in New York. Works in oil: 
Jedburgh Abbey, Pontine Marshes (1847); 
Backwoods of America (1857); Richmond 
Hill (1862); Anne Hathaway’s Cottage (Ed- 
win Booth, New York) ; Greenwood Lake 


352 


CROQUEMITAINE 


(1870) ; Lake Nemi—Italy (1879) ; Twilight, 
Old Church at Arreton—Isle of Wight 
(1880); Sketching in the Glen, Ramapo Val- 
ley (1881); Autumn on the Hudson River 
(1882); Wawayanda Valley (1883); Spring- 
time in England (1884); Misty Morning on 
Greenwood Lake, Lake Thrasymene—Italy 
(1884); October in Ramapo Valley (1885). 
Water-colours: On the St. Lawrence, Wick- 
ham Pond—Florida (1884).—Manhattan 
Mag., April, 1884. 

CROQUEMITAINE, BAGAGEH DE, Tim- 
oléon Lobrichon, canvas. Croquemitaine is 
one of the legendary monsters with whose 
name nurses frighten children. The pict- 
ure represents a basket with four children 
packed ready for departure, and a fifth sit- 
ting beside it.—Engraved by L. Massard. 

CROSS, DEPOSITION FROM. See De- 
scent from Cross. 

CROSS, DESCENT FROM. See De- 
scent from Cross. 

CROSS, DISCOVERY OF, Garofalo, Fer- 
rara Gallery ; wood, H. 10 ft. 5 in. x5 ft. 11 
in. The finding of the cross by St. Helena, 
mother of Constantine the Great. A rich 
composition of figures with a landscape 
background; above, a glory of angels. 
Painted in 1536 for S. Domenico, Ferrara. 
—Vasari, ed. Mil., vi. 465. 

By Tintoretto, S. M. Mater Domini, Ven- 
ice. A carefully-painted and attractive pict- 
ure, but by no means a good specimen of 
the master, as far as regards power of con- 
ception. Ruskin, Stones of Venice, iii. 312; 
Ridolfi, Marav., ii. 212. 

CROSS, ELEVATION OF. See Eleva- 
tion of Cross. 

CROSS, JOHN, born in Tiverton, Eng- 
land, in 1819, died in London, Feb. 26, 
1861. History painter, pupil of Picot in 
Paris. His Clemency of Richard Cour de 
Lion gained the first premium of £300 in 
the Westminster Hall competition in 1847, 
and was bought by the royal commissioners 
for £1,000; and his Assassination of Thomas 
i Becket (1843) is in Canterbury Cathedral. 

CROSS, MIRACLE OF, Gentile Bellin, 


Venice Academy ; canvas, H. 10 ft. 6 in. x 18 
ft. 9 in.; signed, dated 1500. A relic of the 
true cross, borne in procession, is lost in the 
water while crossing a bridge; many seek 
it in vain, but it is at last found by Doge 
Andrea Vendramin ; Catherine Cornaro, ex- 
Queen of Cyprus, and her suite, are among 
the kneeling spectators on the left ; the fore- 
most one of the kneeling group in front, to 
right, is said to be the painter himself. 
From Scuola di S. Giovanni Evangelista.— 
©. & C., N. Italy, i. 132; Zanotto, Pinac. 
Accad., Pl. 40 ; Burckhardt, 594. 

By Giovanni Mansueti, Venice Academy ; 
canvas, H. 10 ft. 6 in. x15 ft. The relic of 
the cross, carried in procession (1474) at 
the burial of one who had doubted its mi- 
raculous powers, is arrested by an invisible 
force, and its bearers have to procure an- 
other one from a neighbouring chapel. 
Scene, a canal fringed by buildings and 
crossed by a drawbridge; the spectator at 
left, with a scroll in his hand, is supposed 
to be the painter himself. Painted in 1493 
for Scuola di S. Giov. Evangelista.—C. & 
C., N. Italy, i. 220; Zanotto, Pinac. dell 
Accad. Venez., Pl. 28 ; Burckhardt, 599. 

CROSS, PROCESSION OF, Gentile Bel- 
lini, Venice Academy ; canvas, H. 11 ft. 10 
in. x 24 ft. 4 in.; signed, dated 1496. The 
procession of the brethren of S. Giovanni 
Evangelista, bearing the relic of the cross, 
has issued from the portal between 8. Marco 
and the Pal. Ducale, and is proceeding up 
the Piazza di S. Marco; Giovanni Salis, a 
merchant of Brescia, kneels near the shrine 
of the relic, and by making a vow to the 
cross causes the healing of his son in Bres- 
cia. Painted for the Scuola di S. Giovanni 
Evangelista. The most important extant 
work of the Venetian school previous to the 
advent of Titian.—C. & C., N. Italy, i. 129. 

CROSS, VISION OF. See Constantine. 

CROWE, EYRE, born at Chelsea, Oct., 
1824. Genre painter, pupil in Paris of 
Paul Delaroche, whom he accompanied to 
Rome in 1843; entered schools of Royal 
Academy, London, in 1844, and exhibited 


353 


CROW NINSHIELD 


his first picture, Prynne searching the Pock- 
ets of Laud in the Tower, in 1846; elected 
an A.R.A. in 1876. Works: Milton visiting 

. Galileo in Prison 
(1859); Swift read- 
ing a Letter from 
Stella, Boswell’s 


My 2 WP? Introduction to 
Be teed the Club (1860); 
? a ; y,. Virginia Slave Sale, 
oS. oe Barber's Shop 
Fai (1861) ; De Foe in 

le the Pillory (1862); 


Burial of Goldsmith (1863); Luther post- 
ing his Theses (1864) ; Charles IL knighting 


SUB \) 
DEX 


ETP WO 


a 
¢ cate , 1, NEDA 
7M Ny “4 
\) d¢ ah “ 
a i a 
Ke or 7 rat 
ohh & : Nee 
ater 2 a 
sth 0g we WA Boe 
- AKG, Ay thane 
verge Vy sigs 
I re 1S cea 


Crucifixion, Lucas Cranach, Stadtkirche, Weimar. 


Vas 


WL” ere 


ham Beaches (1878) ; Marat, Execution of — 
the Duc d’Enghien—1804 (1879) ; Forfeits — 
(1880) ; Explosion of the Cashmere Gate at 
Delhi, Sandwiches, Sir Roger de Coverley at — 


Westminster Abbey (1881); Defence of Lon- 
don—1643, How Happy could I be with 
Hither (1882); Market Place — Evesham 


3 


Old Porch at Evesham (1883); School at the - 


Aitre St. Maclou—Rouen, Fish Market— 
Rouen (1884).—Art Journal (1864), 205. 

CROWNINSHIELD, FREDERIC, born 
in Boston, Mass.; contemporary. Figure 
painter ; pupil of Rowbotham in London, 
Benouville in Rome, and of Cabanel, Cou- 
ture, and the Ecole des Beaux Arts in Paris. 
Exhibited his first picture, 
a portrait group, in the 
Paris Salon of 1878. Stu- 
dio in Boston. 

CRUCHE CASSEE. See 
Broken Pitcher. 

CRUCIFIXION, (Fr. 
Crucifiement; Ital. Croci- 
fissione ; Sp. Crucifixion ; 
Ger. Die Kreuzigung) ; 
the scene immediately suc- 
ceeding the Elevation of 
the Cross. 

By Antonello da Messina, 
Antwerp Museum ; wood, 
HA. 1 it. Tintin, 
Christ on the cross be- 
tween the two thieves; at 
left, the Virgin, seated ; at 
right, St. John, kneeling. 
—Kugler (Eastlake), ii. 
320; ©. & C., Flemish 
Painters, 235. 

By Lucas Cranach, 
Stadtkirche, Weimar; H. 
11 ff. 6 in x 9 fet am: 
Christ on cross, with St. 
John Baptist (portrait of 


= 
SY) if 
WY}, 


Ra) 
Sota NY 
Si 


ate) “ 

AG: 2 
“b 

A ( yt > 


the Loin of Beef (1867); The Vestal (1870) ; | the artist) on right, calling to it the attention 


Old Mortality (1871) ; Out of School (1872); 
Sheep-Shearing Match (1875); Darning Day, 
Red Maid’s School (1876); Sanctuary, Silk- 
worms, Prayer (1877); School Treat at Burn- 


854 


of Luther and Melancthon, who stand beside 
him ; on left, Christ triumphant over Satan, 
who is again seen in middle distance driving 
sinners into the fire. 


Upon the wings are 


: 
3 
' 
( 


CRUCIFIXION. 


the Elector John Frederick and his family. 

Painted in 1555. Considered Cranach’s 
finest work.—Kugler (Crowe), i. 192 ; Schu- 
chart, ii. 240; Forster, x. 

By Gheerardt David, Berlin Museum ; 
wood, arched, H. 4 ft. 7 in. x 8 ft. 3 in. 
Christ on the cross, bewailed by the Marys, 
the Magdalen, and John Evangelist. The 
figure of Christ is a facsimile of that in the 
baptism of Christ, painted for Jean des 


tioner, and on the further side of the cross, 
two spectators. Painted about 1627 for Ch. 
of the Recollets, at the suppression of which 
transferred to the Cathedral; carried to Paris 
and returned in 1815. Engraved by Van 
den Wyngaerde; Bolswert; J. J. Van den 
Berghe ; C. Normand.—Smith, i. 1; Guif- 
frey. 

By Cornelis Hngelbrechisen, Leyden Mu- 
seum. Large altarpiece with many figures, 


: Pt), = 
ae HS 


74 
Cra , 
Dig sO 


Crucifixion, Andrea Mantegna, Louvre, Paris. 


Trompes. Formerly in Solly Collection.— 
C. & C., Flemish Painters, 307. 

By Anton van Dyck, Mechlin Cathedral ; 
canvas, H. 13 ft.x9 ft. The Saviour upon 
the cross, between the two thieves, has just 
expired ; the sun is veiled and gloom obscures 
the heavens; on the right, the Virgin; behind 
her John and Mary the mother of James, 
and at the foot of the cross the Magdalen ; 
on the opposite side, a mounted soldier lean- 
ing on the pommel of his saddle, and look- 
ing fixedly at Christ ; on his left an execu- 


and wings representing Abraham’s Sacrifice 
and the miracle of the Brazen Serpent ; in 
the predella, Restoration of Mankind by the 
Atonement of Christ. 

By Guido Reni, Bologna Gallery; canvas. 
The Virgin and St. John beside the cross. 
One of Guido’s finest creations. Formerly 
on high altar of the Cappuccini, whence 
called Cristo dei Cappuccini.—Kugler (East- 
lake), ii. 580. 

By Andrea Mantegna, Louvre, Paris; wood, 
H. 2 ft. 2 in. x3 ft. Christ on the cross be- 


355 


CRUCIFIXION. 


tween the two thieves; at left, St. John and 
the holy women ; at right, soldiers playing 
dice and two others mounted; in_ back- 
ground, Jerusalem and rocks. Fragment of 
predella of altarpiece of S. Zeno, Verona ; 
two other parts in Tours Museum. En- 
graved by G. Maina.—Villot, Cat. Louvre. 

By Gerard Van der WMeire, S. Bavon, 
Ghent ; triptych. Centre panel, the Cruci- 
fixion; wings, Moses striking the Rock, 
and the Brazen Serpent. Remarkable for 
number of figures introduced, but not for 
skilful distribution. —C. & C., Flemish 
Painters, 147; Kugler (Eastlake), i. 88. 

By Murillo, Hermitage, St. Petersburg ; 
canvas, H. 3 ft. 3 in.x2 ft. Christ sus- 
pended on the cross, at the foot of which, at 
left, stand St. John and the Virgin ; at right, 
St. Mary Magdalen, kneeling, looking front, 
embracing the Saviour’s feet; in background, 
the towers of Jerusalem. From Houghton 
Gallery; appraised at £150. Repetition, 
with changes: Mr. Spannocchia, New York. 
—Curtis, 201; Houghton Gal. i. 46. 

By Raphael, Earl Dudley, London; wood, 
H. 8 ft. 6in.x5 ft. 7 in.; signed. Christ 
on a high cross, with an angel in the air on 
each side, collecting in a vase the blood 
from his wounds; above the cross, both the 
sun and the moon ; below, on right the Vir- 
gin standing and St. Jerome kneeling, on 
left Mary Magdalen kneeling and St. John 
standing. Not distinguishable from Peru- 
gino’s work, but certainly by Raphael ; 
painted about 1500 for Cappella Gavri or 
Gavari in Dominican church at Citta di 
Castello, whence sold, about 1800, for 4,000 
seudi ; passed to Fesch Collection, whence 
ena in 1845, for 10,000 scudi by Prince 
Cane who sold it in 1847 to Lord Ward, 
now Earl Dudley. Engraved by L. Gru- 
ner for German edition of Passavant.—Va- 
sari, ed. Mil, iv. 318; Passavant, ii. 9; 
Waagen, Teeaaunes il. 239 ; CuiteG = Kas 
pheel, 1. 119, 135 ; Rossini, PL CCX. 

By Rubens, Antwerp Museum ; canvas, H. 
14 ft.x10 ft. 2 in. The three crosses on 
Calvary at evening ; the Saviour, who has 


yielded up the ghost, has bowed his head | 
upon his breast ; on his right, the believing 
malefactor ; on his left, the other having his 
legs broken by the executioner; on the 
right, two soldiers on horseback, one of 
whom is piercing the Saviour’s side with a 
spear, while Mary Magdalen, at the foot of 
the cross, looks at him with horror; in front, 
the Virgin, Mary wife of Cleophas, and St. 
John. Sir Joshua Reynolds calls this the 
most carefully finished of all Rubens’ works, 
and one of the first pictures in the world. 
Presented to Church of the Recollets, Ant- 
werp, in 1620, by Nicolaas Rockox, burgo- 
master. Carried to Paris ; returned in 1815: 
Engraved by Bolswert ; Aubert ; Val. Green. 
—Smith, ii. 13; Beechey, Reynolds, ii. 177. 

By Tintoretto, S. Cassiano, Venice ; canvas. 
The three crosses on right ; centre occupied 
by executioners, one of whom, standing on 
a ladder, receives from the other the sponge 
and the tablet; the Virgin and St. John at 
left; in background, a group of Roman sol- 
diers. An excellent picture, not often sur- 
passed by the master.—Ruskin, Stones of 
Venice, iii. 289. 

By Tintoretto, SS. Giovanni e Paolo, Ven- 
ice; canvas, H. about 12 ft.x15 ft. “A 
picture of about fifty figures, not one of 
which injures or contends with another. As 
a piece of colour, and light and shade, it is 
altogether marvellous.”—Ruskin, Stones of 
Venice, iii. 305. 

By Tintoretto, Scuola di S. Rocco, Venice ; 
canvas, signed and dated 1565. Coredng 
the whole of one wall of the Sala dell’ Al- 
bergo. Ruskin says it is beyond all analysis 
and above all praise. Tintoretto was paid 
280 ducats for this work, and was made 
member of the confraternity, with commis- 
sion to adorn the Church and the Scuola 
with pictures. Engraved by Agos. Carracci 
(1589).— Ruskin, Stones of Venice, iii. 353 ; 
Ch. Blane, Teale vénitienne ; Zanotto, 449 ; 
Bartsch, xviii. 51. 

By Titian, S. Domenico, Ancona; canvas, 
arched on top, figures life-size. Christ on 
the cross, at foot of which are St. Dominic, 


356 


CRUIKSHANK 


St. John Evangelist, and the Magdalen. 
Painted in 1562-3. Much injured and re- 
painted.—C. & C., Titian, 11.°328. 

Subject treated also by Vincenzo Foppa 
the elder, Bergamo Gallery ; Jacopo degli 
Avanzii, Palazzo Colonna, Rome, Bologna 
Gallery ; Albrecht Altdorfer, Augsburg Gal- 
lery, Nuremberg Gallery; Hans Holbein, 
the elder, Augsburg Gallery; Pietro Perugi- 
no, Villa Albani, Rome; Albrecht Diirer, 
Dresden Gallery ; Francesco Francia, Bo- 
logna Gallery, Louvre ; Francesco Bonsig- 
nori, Verona Gallery; Luca Signorelli, Flor- 
ence Academy; Alesso Baldovinetti, Florence 
Academy ; Filippo Lippi, Stidel Institute, 
Frankfort ; Alonso Cano, Academy of 8. Fer- 
nando, Madrid ; Giacomo Cavedone, Galleria 
Estense, Modena; Pierre Subleyras, Brera, 
Milan ; Bernardo Gatti, Naples Museum ; 
Rubens, Munich Gallery; Cornelis Engel- 
brechtsen, Munich Gallery; Master of Lyvers- 
burg Passion, Museum Wallraf-Richartz, Co- 
logne ; Lucas Cranach, Munich Gallery ; 
Leandro Bassano, Berlin Museum ; Sacchi 
di Pavia, Berlin Museum ; Michael Wohlge- 
muth, Munich Gallery, Nuremberg Gallery; 
Goya y Lucientes, Madrid Museum ; Andrea 
da Solario, Louvre ; Martin van Heemskerck, 
Hermitage, St. Petersburg ; Marten de Vos, 
Uffizi, Florence, Antwerp Museum ; Garofo- 
lo, Brera, Milan; Gabriel Max, Mr. Lehmann, 
Prague ; and many others. 

CRUIKSHANK, GEORGE, born in Lon- 
don, Sept. 27, 1792, died there, Feb. 1, 1878. 
Genre painter and illustrator, son and pupil 
of Isaac C., caricaturist (1756-1811); began 
as a book illustrator and etcher, designing 
many illustrations for Egan’s Life in London, 
Grimm’s Fairy Tales, Dickens’s earlier works, 
and numerous periodicals. Also published 
several series of prints, such as Points of 
Humour, Morning in Bow Street, The Bottle, 
Sunday in London, etc. In his later years 
he exhibited works in oil at the British In- 
stitute and the Royal Academy, among them 
being Tam O’Shanter, Titania and Bottom, 
Cinderella, and the Worship of Bacchus 
(H. 7 ft. 8 in. x 13 ft. 3 in.), the last a com- 


position of several hundred small figures, 
now in the National Gallery. Robert Isaac 
C. (died 1856), designer in water colours, 
was his brother.—Cat. Nat. Gal.; Redgrave ; 
C. Carr, Essays, 223; Portfolio (1872), 
ae 

CRUSADERS BEFORE JERUSALEM, 
Wilhelm von Kaulbach, New Museum, Ber- 
lin; mural painting, staircase. On a hill 
before Jerusalem, which is seen in back- 
ground, a group of soldiers, bishops and 
priests ; on second hill, to right, Godfrey de 
Bouillon holding up a crown before army of 
Crusaders, among whom are seen Bohemond 
and Tancred ; above, in clouds, Christ and 
the Virgin, with martyrs ; in foreground, 
Peter of Amiens praying ; behind him, peni- 
tents, minstrels, ete. 

CTESICLES, painter, of Asia Minor, 
about 300 p.c. Failing to gain the favour 
of Queen Stratonice, he revenged himself 
by painting her with a fisherman, her re- 
puted lover, put the picture on exhibition 
in Ephesus and made his escape by sea. 
But the Queen considered the likenesses so 
excellent that she forbade the removal of 
the painting.—Pliny, xxxv. 40 [140]. 

CTESIDEMUS, Greek painter, master of 
Antiphilus, about 376 3.c. Pliny mentions 
among his works the Capture of Cichalia 
and Laodamia.—Pliny, xxxv. 40 [138]. 

CTESILOCHUS, Greek painter, pupil of 
Apelles, famous for a burlesque picture of 
the birth of Dionysus from the thigh of 
Zeus.—Pliny, xxxv. 40. Perhaps identical 
with Ctesiochus, brother of Apelles, men- 
tioned by Suidas (Apelles, V.). 

CUEVAS, PEDRO DE LAS, born in 
Madrid in 1568, died there in 1635. Span- 
ish school ; a mediocre painter, best known 
through the fame of his scholars, among 
whom were Juan Carrefio, Antonio Pareda, 
Jose Leonardo, and Francisco Camilo. His 
son Eugenio, another pupil, was a painter of 
no great merit. Pedro is said to have died 
of grief because he was not appointed 
painter to the King on the death of Gonza- 
les.—Stirling, i. 435. 


857 


CUISINE 


CUISINE DES ANGEHS. See Diego, St., 
of Alcala. 

CUMMINGS, THOMAS SEIR, promi- 
nent in the early part of the century as a 
miniature painter. He was one of the found- 
ers of the National Academy, New York, an 
early vice-president, and its treasurer in 
1840-45. He painted the portraits of some 
of the most distinguished men of his time. 

CUPID, Domenichino, Hermitage, St. 
Petersburg ; canvas. Standing on a pedes- 
tal, inscribed ‘‘ Amor,” leaning on a bow, 
and holding in right hand an arrow with 
point directed toward his heart. Old copy, 
attributed to Elizabetta Sirani, Vienna Mu- 
seum. EHngraved by Joubert (Collection 
Coesvelt, 23). 

CUPID ASLEEP, Michelangelo da Cara- 
vaggio, Palazzo Pitti, Florence; canvas, H. 
2 ft. 3in.x3 ft. 3 in. Sleeps, with head on 
quiver; holds bow and arrow in hand; 
landscape background. Engraved by Ma- 
rucci; T. Verkruys.—Gal. du Pal. Pitti. 

CUPID, EDUCATION OF, Correggio, 


Gb f 
{ 


tf 
“ye 


1 


Education of Cupid, Carraggio, National Gallery, London. 
National Gallery, London ; canvas, H. 5 ft. 
lin. x3 ft. Mercury, seated ina landscape, 
teaches Cupid to read; a winged nude 


Venus stands beside him. Painted about 
1522-25; came from Gonzaga Collection, 
Mantua, to Charles I. of England, and — 
sold, after his death, for £800; later pos- 
sessed by Duke of Alva, and by Don 
Manuel Godoy, from whose collection taken 
by Murat in French invasion and carried to — 
Naples ; sold by ex-queen of Naples to Mar- — 
quis of Londonderry, and by him (1834) to 
National Gallery, together with the Ecce 
Homo of Correggio, for £11,500. Damaged 
by repainting. Several copies, one at Sans 
Souci, another in Paris. Engraved by Le 
Villain ; Arnold de Gode.—Meyer, Correggio, 
340,492 ; Kiinst. Lex.,i.438; Landon, viii. Pl. 
58; Waagen, Treasures, i. 327; Kugler 
(Eastlake), ii. 505 ; Richter, 63. 

See also Venus equipping Cupid. 

CUPID AND PSYCHE, Wilhelm von 
Kaulbach, Mrs. A. T. Stewart, New York ; 
canvas. Psyche, nude, reclining on a bank 
of flowers and ferns, lifts one foot and 
stretches the drapery across her lap as she 
awakes under the kiss of Cupid. A band 
of musical genii hover in the air, left ; back- 
ground, right, a woody glade. Photo- 
gravure in Art Treasures of America, i. 40. 

See also Psyche. 

CUPIDS DISARMED, Francesco Albani, 
Louvre ; canvas, H. 6 ft. 6 in. x 7 ft. 10 in. 
The nymphs of Diana surprise and disarm 
Cupids asleep in a forest ; in background, to 
left, Callisto and a companion ; above, Diana 
in clouds. Collection of Louis XIV. En- 
graved by Baudet ; B. Audran.—Landon, 
Musée, 2d Col., iii. Pl. 63. 

CURIA, FRANCESCO, Cavaliere, born 
in Naples about 1538, died there about 
1610. Neapolitan school; pupil of Gio. 
Fillippo Criscuolo and of Leonardo da Pis- 
toja ; afterwards studied works of Raphael 
in Rome. Acquired a great reputation in 
Naples for his noble style of composition and 
natural colouring. Executed works for many 
churches in Naples, where most of his pict- 
ures are. See also Death of St. Francis, 
sustained by an angel, Turin Gallery.— 
Lanzi, ii. 23; Ch. Blane, Ecole napolitaine. — 


358 


é 


CURRADO 


CURRADO, FRANCESCO, born near 
Florence in 1570, died in Florence in 1661. 
Florentine school; history painter, pupil of 
B. Naldini ; after working for churches in 
Florence, went to Rome, where he painted 
several pictures for the King of Portugal, 
who sent him the Order of Christ. Settled 
in Florence, where he brought up many 
pupils. Works: St. Francis Xavier preaching 
in India, 8. Giovannino, Florence ; Narcis- 
sus, St. Catherine, Palazzo Pitti, ib.; Magda- 
len, Martyrdom of St. Thecla, his own por- 
trait, Uffizi, ib.; Abraham receiving the An- 
gels, Vienna Museum. His brothers Pietro 
and Cosimo were his pupils and followers. 

CURTI, GIROLAMO. See Dentone. 

CURZON, PAUL ALFRED DH, born at 
Moulinat, near Poitiers, Sept. 7, 1820. Land- 
scape and genre painter, pupil of Drolling 
and Cabat. Won second prize for historical 
landscape at the Ecole des Beaux Arts in 
1849. Is highly esteemed, especially for his 
genre pictures. Has also tried water-colour 
and lithography. Medals: 2d class, 1857, 
1859, 1861, and 1863; 3d class, 1867; 2d 
class, 1878; L. of Honour, 1865. Works: 
Hops (1845); The River Clain, Auvergne, 
The Loire (1846); Water Spirits, Béranger's 
Fates (1848); Beside the Water (1849); 
Democritus Meditating, Ruins of Pestum, 
View of Terracina, Acropolis of Athens 
(1852); The Cephisus (1855); Dante and 
Virgil on Shores of Purgatory, Blind Greeks, 
Women of Piscinisco, An Albanian Woman 
(1857); Psyche (1859), Luxembourg Muse- 
um ; Tasso at Sorrento, Near Foligno, Near 
Civita-Castellana (1859); Neapolitan Flower- 
Girls, In the Woods, Pilgrims halting at 
Subiaco, Family of Fishermen in Capri, 
The Illissus and Ruins of Temple of Jupiter 
at Athens (1861); Ave Maria, Galinaro’s 
Granddaughter, Vesuvius (1863); Vintage 
at Procida, Ruins of Roman Bridge near the 
Walls of Nami (1864); Consoling Angel, 
Torrent in the Apennines (1865); Dream in 
the Ruins of Pompeii (1866); Dominicans 
decorating their Chapel (1867), Ostia (1868), 
Luxembourg Museum; The Prophetess, 


Coast of Sorrento, The River Clain at Poi- 
tiers (1869) ; Birth of Homer, The Ocean 
(1870); Harbour of Toulon, Mouléres River 
near Toulon (1872); A River (1873); First 
Portrait ; Serenade in the Abruzzi (1874) ; 
Triptych, or 3 Scenes from the Life of Ruth 
(1875); Ruins of Temple of Jupiter near 
Athens, View from Summit of the Acropolis 
(1876) ; Graziella, Ruins of Aqueducts on 
the Roman Campagna (1877); Near Public 
Well at Amalfi, Ruins of the Acropolis of 
Athens in 1852 (1878); Stairs of Atrani at 
Ravello, Lake Avezzano (1879); Girl and 
her Guardian Angel, Garden near Nimes 
(1880); Erechtheum at Athens (1881); View 
of the Sea and Capri, Coast of Provence 
near Toulon (1882); Acropolis and Cam- 
pagna of Athens, Foot of Mount Taygetus 
(1883); Banks of the Teverone—Roman 
Campagna, Environs and Bay of Athens 
(1884); View in Black Forest (1885).—lLa- 
rousse ; Gaz. des B. Arts (1869), 510. 
CUTHBERT, ST., Ernest Duez, Luxem- 
bourg Museum ; canvas, triptych, H. 10 ft. 
8 in. x 23 ft. Cuthbert, a shepherd in the 
Valley of the Tweed, was educated in a mon- 
astery, and became a noted preacher. He 
lived on Lindisfarne, or Holy Island, off the 
coast of Northumberland, where he sup- 
ported himself by his own labour and was 
miraculously fed. Finally became Bishop 
of Lindisfarne and built there a monastery, 
destroyed by the Danes in 900. The mid- 
dle part of the picture represents him in his 
bishop’s robes. Salon, 1879. 
CUYLENBORCH (Cuylenburg, Kuylen- 
burg), ABRAHAM VAN, died after 1664. 
Dutch school ; landscape painter in the man- 
ner of Poelenburg ; master of Utrecht guild 
in 1639. Works: Grotto with Diana and 
her Nymphs, Hague Museum ; Landscapes 
with similar Subject (1646, 1647), Bruns- 
wick Gallery ; do. (1660), Cologne Museum ; 
three (1648, attributed to Breenbergh), 
Mannheim Gallery; two (1640, 1647), 
Schleissheim Gallery; two (1644, 1646), 
Schwerin Gallery ; one (1664), Copenhagen 
Gallery; two, Borghese Gallery, Rome ; 


559 


CUYP 


others in Aschaffenburg, Prague, Innsbruck, 
and Pesth Galleries, Fitzwilliam Museum, 
Cambridge.—Archief v. Nederl. K., ii. 75; 


in len borek 


Bode, Studien, 327; Riegel, Beitrage, 11. 
192. 
CUYP (Kuyp), AELBERT, born at Dor- 
: drecht in Oct. 
1620, died 
there, buried 
Nov. 6, 1691. 
Dutch school , 
landscape, ani- 
Art ct mal, and ma- 
ae <2 rine painter ; 
‘Sah fi an se ve son and pupil 
7 is Nee y/o Jacob Ger- 
ritsz Cuyp. 
Lived many years at Dordwijk, near Dor- 
drecht, where, as vassal of the countship of 
Holland, he had the right to sit in the Su- 
preme Court of Justice. His name was pre- 
sented to the Stadtholder William IIL, in 
1672, as a nominee for membership in the 
regency of Dordrecht. In his early years 
he painted still life, birds, stables, some- 
times portraits, signed A. C.; later, figures, 
cattle, views of meadows, and winter scenes, 
signed with his whole name. Out of the 336 
pictures by this celebrated painter, at least 
200 are in England, where he is deservedly 
held in very high esteem for his peculiar 
qualities. In the treatment of atmospheric 
effects, whether of morning, noontide, or 
sunset, Cuyp has no rival save Claude, whom 
he even surpasses in his power of diffusing 
a glow of light throughout the limits of a 
canvas. This remark applies only to the 
landscapes of his later time, for in those of 
an earlier period a hardness of outline, heavi- 
ness of tone, and deficiency of aerial perspec- 
tive are perceptible. Works : 7 Lanc scapes, 


Portrait, National Gallery; 4 Landscapes, 
Bridgewater Gallery ; 5 do., Grosvenor Gal- 
lery ; 5 do., Duke of Bedford ; 9 do., Buck- 
ingham Palace, London; 18 do., Dulwich 
Gallery, Dulwich ; Landscape, Starting for 
a Ride, The Ride, Marine View, Male por- 
traits, Group of Children, Louvre ; Shep- 
herds with Flocks, Cavalry Fight, Cock 
Fight, View of Dordrecht, do. near Dor- 
drecht, Rustic Amusement, Cattle, Moun- 
tainous Landscape, male portrait, National 
Museum, Amsterdam; Two Children with 
a Lamb, Cologne Museum ; Landscapes with 
Cattle (5), Berlin Museum ; Horseman hold- 
ing Horse, Cock and Hen, Old Pinakothek, 
Munich ; Hunting Scene, portrait, Dresden 
Gallery ; Cows (2), Vienna Museum ; Land- 
scape, portraits 
of himself and 
family: Buaee oy 
Pesth Gallery ; 

Moonlight at 


a emp, 


Xe, 

Sea ACK - Acs ye 
with vir 
Boats, 
Cows and Water (4), Horses and Cows (3), 
Hermitage, St. Petersburg.— Allgem. d. 
Biogr., iv. 666; Kugler (Crowe), ii. 459; 
Dohme, lii.; Ch. Blane, Ecole hollandaise. 

CUYP, JACOB GERRITSZ (Jan Gerrit- 
sen), born in Dordrecht in 1575, died after 
1649. Dutch school; portrait and animal 
painter, pupil of Abraham Bloemart. 
Founded, in 1642, with Izak van Hasselt, 
Cornelis Tegelberg, and Jacques Grief, a 
guild of St. Luke in Dordrecht. He be- 
longs to that prominent group of masters 
like Ravesteyn, Hals, Bramer, who as true 
interpreters of nature led Dutch art to the 
high development culminating in the genius 
of Rembrandt. Works: Family Picture, 
Amsterdam Museum; Three; ‘hildren (1635), 
An Officer (1644), Femaie .Portrait (1644), 
Rotterdam Museum ; Male and Female Por- 
trait (1649), Metz Museum ; Landscape with 
Cattle, Old Pinakothek, Munich ; Portrait 
of an Old Woman (1624), Berlin Museum ; 


360 


ee 


~ historical 


CYCLOPS 


Portrait, Stadel Gallery, Frankfort. His 
nephew, Benjamin Cuyp (1608-about 1690), 


painted wy fatis bp 


subjects 
d : 
“re Anno ’ ) 2. 4 
rowe a3 . 
ae : es Cy) . fee 
ee ot 


lii.; Vossmaer, 465. 

CYCLOPS, MODERN, Adolf Menzel, Na- 
tional Gallery, Berlin; canvas, H. 5 ft. x8 
ft. 3 in.; signed, dated 1875. Scene in a 
rolling-mill at Laurahiitte, Silesia. Five 
workmen are busy around a loop placed on 
the first roller ; in middle- 
ground, machinery and 
cranes, with many work- 
men ; in background, left, 
a blast furnace and more 
workmen ; in foreground, 
right, three workmen eat- 
ing their meal, brought by 
a young girl. 

CYDIAS, Greek painter 
of Cythnus, about 364 B.c. 
His picture of the Argo- 
nauts was bought for 144,- 
000 sesterces by the orator 
Hortensius, who had a 
building erected for it on 
his estate at Tusculum, 
(Pliny, xxxv. 40 [130].) 
This painting is supposed 
to have been removed by 
Agrippa to the Portico of 
Neptune. (Di. Cass. L. iii. 27.) Cydias is 
mentioned by Theophrastus (De Lap. 95) as 
the discoverer of minium (red lead, or ver- 
milion) °°: 

CYMON AND IPHIGENIA, Sir Frederic 
Leighton, Fine rts Society, London. Scene 
from Boccaccio’s Lecameron, Novel L, Fifth 
Day. Cymon, son of ‘Aristippus, a gentleman 
of wealth and rank in Cyprus, though excel- 


thing. One day, in passing through a wood, 
he discovered a most beautiful damsel 
asleep, with two maids and a man-servant 
also sleeping at her feet. At this sight love 
pierced his heart, and led to such a change 
in his character that in four years he became 
the most accomplished gentleman in Cyprus, 
and, after various adventures, wooed and 
won Iphigenia for his wife. Royal Acade- 
my, 1884.—Art Journal (1884), 129. 

By Sir Joshua Reynolds, Buckingham Pal- 
ace, London ; canvas, H. 4 ft. 7 in. x 5 ft. 
7in. Iphigenia, nearly nude, les asleep on 
drapery in the wood; in background, Cymon, 
led by Cupid, leans upon a staff gazing upon 
her in wonder-stricken admiration. Painted 


Cymon and Iphigenia, Sir Joshua Reynolds, Buckingham Palace, London. 


in 1789. Presented to George IV. by the 
painter’s niece, the Marchioness of Tho- 
mond. Engraved by 8S. W. Reynolds.— 
Waagen, Treasures, ii. 24. 

Subject treated also by Cornelis Corne- 
liszen, Hermitage, St. Petersburg ; Rubens, 
Vienna Museum. 

CZACHORSKI, VLADISLAV VON, 
born at Lublin, Poland, Sept. 22, 1850. 


ling in stature and comeliness, was almost|Genr¢“painter ; studied first in Lublin and 
a natural fool, and could not be taught any-! Warsi'w, then at Dresden Academy under 


361 


CZERMAK 


Anschiitz and Wagner, and finally in Munich 
under Karl von Piloty; settled in Warsaw. 
Works: The Reading (1872); Entrance into 
Convent (1873); Hamlet and the Actors 
(1879).—Miiller, 121; Illustr. Zeitg. (1874), 
iol 
OZERMAK (Cermik), JAROSLAV, born 
in Prague, Sept. 1, 1831, died in Paris, April 
23, 1878. History and genre painter ; pupil 
of Prague Academy under Ruben, of Ant- 
werp Academy under Wappers, where he won 
the first prize, then in Brussels the only 
pupil of Gallait. Having formerly visited 
Munich and Diisseldorf, he travelled.in 1850 
through Holland, studied for some time in 
Normandy, then settled in Paris, where he 
completed his studies under Robert-Fleury, 
and won fame and wealth, passing his sum- 
mers in the village of Roscoff, Brittany. Vis- 
ited Moravia, Hungary, and the southern 
Slavic countries in 1858, Dalmatiaand Monte- 
negro again in 1862 and 1863. Medals: Paris, 
2d class, 1861; médaille unique, 1868 ; L. of 
Honour, 1876; great gold medal, Brussels, 
1855 ; Rouen, 1865; Order of Leopold, 1868. 
Works: Dalibor in Prison, Sentence of Con- 
radin of Suabiaand Frederic of Baden (1844); 
Marius on the Ruins of Carthage (1847); 
Slovak Emigrants (1849), King of the Bel- 
gians ; Huss and Procop the Bald entering 
Council of Basle ; Defence of a Pass by Ta- 
borites; Zi8ka and Procop reading the Bible; 
Poet Lomnicky as Beggar on the Bridge of 
Prague (1852), Czernin Gallery, Vienna ; 
Frederic the Winterking receiving News of 
lost Battle at White Mountain (1852); Nor- 
man Fishermen reading the Gospel; Episode 
in Counter Reformation in Bohemia (great 
gold medal, Brussels); Workmen on High- 
road to the Coast (1854); Old Jewish Cem- 
etery at Prague, Scene in Thirty Years’ War, 
Girls by a Church (1858); Abduction of 
Herzegovinian Women by Bashi-Bazouks 
(1868) ; Episode in Montenegrine War of 
1862, Hunting and Fishing at Roscoff (1873); 
Herzegovinian Girl leading Horses to Water- 
trough, Meeting in the Mountains—Monte- 
negro (1874); Episode in Siege of Naumburg 


(1876); Herzegovinians returning to their 
Village sacked by Bashi-Bazouks (1877); 
Dalmatian Chieftain mortally wounded ; Epi- 
sode in Massacre in Syria, 'T. A. Havemeyer, 


Jaroslav Cermak 197% 


New York.—Art Treas. of Amer., i. 1385; N. 
illustr. Zeite. (1878), ii. 702; Wurzbach, ii. 
B21 si wou 


ABOUR, JOHN, born in Smyrna, 
1.) Turkey in Asia, in 1837. Portrait 
painter, pupil in Paris of Ecole des 
Beaux Arts and of Jeanron. Studio in 
Baltimore, where he has resided many years. 
Among his portraits are those of Senators 
Cameron and Davis, Gov. Groome of Mary- 
land, and Bishops Spaulding and Purcell. 
He exhibited in the National Academy, New 
York, in 1879, A Nymph. 

DADDI, BERNARDO, died in 1880. 
Florentine school; follower of Giotto. Va-~ 
sari calls him a pupil of Spinello, but this is 
inconsistent with the only dates of his life. 
He was admitted into the Apothecaries’ 
Guild in 1320, and was a member of the 
Company of St. Luke in 1349. If, as Mila- 
nesi suggests, Daddi painted (1346-47) the 
Madonna of Orcagna’s tabernacle at Or San 
Michele, he has been greatly underrated. 
The only extant frescos by him are in the 
chapel of S. Stefano de Pulci in 8. Croce, 
Florence. They show the weakness of an 
artist of a low order, but with some knowl- 
edge of the laws of composition as known 
to most of the inferior Giottesques. A small 
Madonna by him, signed Bernardus de Flo- 
rentia, is in the Florence Academy.—C. & C., 
Italy, u.6; Liibke, Gesch. ital. Mal., i. 154; 
Vasari, ed. Mil., i. 463, 673, N. 2; W. & W., 
i. 454. 

DAEGE, EDUARD, born in Berlin, April 
10, 1805, died there, June 6, 1883. History 
painter, pupil of the Berlin Academy under 
Niedlich, then of Wach; visited Italy in 
1832-33, painted afterwards many altar- 


862 


DAEL 


pieces for churches, and assisted in 1845-52 
in the frescos in the royal chapel, Berlin. 
Member of Academy in 1838, professor in 
1840, vice-director in 1861-75. Member 
also of Vienna Academy. Works: St. Paul 
(1825); Invention of Painting (1832), Sacris- 
tan with Host (1837), National Gallery, 
Berlin ; The Pare, Woman and Child, Rac- 
zynski Gallery, ib.; Initiation of Nun ; Shel- 
ter at the Altar, Charitable Monk (1836); 
Holy Water, Roman Woman and Child.— 


18[0; Jo. 1g f) 30 


Brockhaus, iv. 769 ; Miller, 122 ; Rosenberg, 
Berl. Malersch., 28. 

DAEL, JAN FRANS VAN, born in Ant- 
werp, May 27, 1764, died in Paris, March 
20, 1840. Flemish school ; flower and fruit 
painter, pupil of the Antwerp Academy ; 
went, in 1786, to Paris and received many 
orders from the Empresses Josephine and 
Marie Louise, the Emperor Napoleon, and 
Louis XVIII. and Charles X. Two gold 
medals, and in 1825 Legion of Honour. 
Works: La Croisée; Three Flower Pieces 
(1816, 1819, 1823), Louvre; Bouquet of Roses 
(1811), Rothan Gallery, Paris; Tuberoses, 
Basket of Flowers, Lyons Museum ; Flora’s 
Offering (1807), Spring Flowers (1808), two 


oof 


others, Leuchtenberg Gallery.—Biog. nat. 
de Belgique, iv. 628 ; Michiel, x. 574. 
DAFFINGER, MORIZ MICHAEL, born 
in Vienna, Jan. 25, 1790, died there, Aug. 
22,1849. Portrait painter; first apprenticed 
in the imperial porcelain factory, he entered 
the Vienna Academy under Fiiger, and then 
gave himself up to the painting of miniature 
portraits, chiefly on ivory, which he carried 
to great perfection under the influence of 
Lawrence, who was in Vienna during the 
Congress of 1815. Works: Portraits of Duc 
de Reichstadt, Archduchess Sophie and Chil- 


dren,in possession of Imperial family; Prince 
Metternich and Family; Famous Contempo- 
raries, in possession of Metternich family; 
Fauna Austriaca, Vienna Academy.—Allgem. 
d. Biogr., iv. 689 ; Andresen, iv. 91; Brock- 
haus, iv. 769 ; Wurzbach, iii. 127. 
DAGNAN, ISIDORE, born in Marseilles 
in 1794, died in Paris, Nov. 8, 1873. Land- 
scape painter; painted chiefly views of South- 
ern France, Italy, and Switzerland. Medals: 
2d class, 1822 ; 1st class, 1831; L. of Honour, 
1886. Works: Roman Girls listening to a 
Shepherd (1819); Lake of Geneva (1822), 
Grand Trianon ; Lausanne (1822), Fontaine- 
bleau ; View in Dauphiné (1827), ib.; View 
of Paris (1831); Sea View at Marseilles (1833), 
formerly in Luxembourg ; View of Dinan 
(1836) ; Valley of Lauterbrunnen (1841) ; 
Bridge of Nice (1843); View of Avignon 
(1845), Ministry of Interior ; Lake of Geneva, 
Banks of Aar, Old Oak at Pharamond (1857); 
Forest and River, Ravine at Montreux, Road 
to Battigny (1859); Beech Woods on Banks 
of Stream, Road from Paris to Fontaine- 
bleau (1864) ; Forest, Petrarch’s House 
(1865); Road from Pierrefonds to Battigny, 
Baden-Baden (1866); Queen Blanche’s Oak 
at Fontainebleau, New Road in the Solle 
Valley (1869); Cross-Road from Battigny to 
Pierrefonds, Banks of the Sorgue at Vau- 
cluse (1870).—Larousse. 
DAGNAN-BOUVERET, PASCAL 
ADOLPHE JEAN, born in Paris. Contem- 


porary. Genre painter, pupil of J. L. Gé- 
rome. Medals: 3d class, 1878; Ist class, 


1880. Works: Infant Bacchus, Orpheus and 
Bacchantes (1877) ; Burial of Manon Les- 
caut (1878 ; L. P. Morton sale, New York, 
1881); Wedding Party at a Photographer’s 
(1879); An Accident (1880), W. T. Walters, 
Baltimore ; Blessing a Couple before Mar- 
riage (1882); Lover's Quarrel, F. B. Warren, 
Philadelphia ; Hamlet and the Grave Dig- 
gers (1884); Horses at Watering-Trough, 
Madonna (1885). 

DAHL, HANS, born at Hardanger, Nor- 
way, Feb. 19, 1849. Landscape and genre 
painter, pupil of the Carlsruhe art-school, 


363 


DAHL 


under Riefsthahl and Hans Gude, then in 
Diisseldorf under Wilhelm Sohn and E. von 
Gebhardt ; travelled in Norway, and visited 
Berlin, Paris, and London. Works: In the 
Norwegian Mountains; Too Late! On the 
Waves ; Young Ladies’ Boarding School on 
the Ice (1883); Lake in Norway, Maid-Ser- 
vant (1884); Norwegian Fishermen, G. 
Hoadly, Cincinnati—Miiller, 122; Mlustr. 
Zeitg. (1884), i. 173. 

DAHL, JOHANN CHRISTIAN (CLAU- 
SEN), born at Bergen, Norway, Feb. 24, 
1788, died in Dresden, Oct. 14, 1857. Land- 
scape painter ; first apprenticed tc a decora- 
tive painter, then studied, from 1811, at the 
Copenhagen Academy. Went to Dresden 


in 1818, met with great success, and settled 


there in 1821, after visiting the Tyrol and 
Italy. Member of the Dresden, Berlin, and 
Copenhagen academies; Orders of the Dan- 
ebrog, Wasa, and St. Olaf. Works : Eruption 
of Vesuvius (1820); View of Bergen, Storm 
at Sea (1823), Berlin National Gallery ; 
Mountainous Landscape (1824), Prague 
Gallery ; Danish Coast by Moonlight (1828); 
Mountain Pass near Nerédalen (1832); Sea 
Coast with Ship (1833); The Watzmann, 
View near Quisisana; Storm at Sea, Great 
Norwegian Landscape (1850), Dresden Gal- 
lery ; Winter Landscape, New Pinakothek, 
Munich.—Allgem. d. Biogr., iv. 692 ; Andre- 
sen, i. 70; Brockhaus, iv. 772. 

DAHL, JOHANNES SIEGWALD, born 
in Dresden, Aug. 16, 1827. Animal painter ; 
first instructed by his father, Johann Chris- 
tian, then pupil of Wegener, and in 1843- 
45 at the Dresden Academy. Went in 1851 
to London, where he was especially attracted 
by Landseer, and thence to Paris, which he 
afterwards visited repeatedly. Subjects are 
generally chosen from his father’s native 
country, Norway. Works: Dogs with 
Parrot and Rabbit, Castle Oscarshall near 
Christiania ; Missed his Aim (1861), Nor- 
wegian Ferry (1863), Dresden Gallery ; Or- 
gan Grinder with Dog (1862); Fox and Wild 
Ducks (1865); Sleighing on the Fjord (1865); 
Pug-Dog (1866), Monkey Party, Heron at a 


Lake (1871); Deer Started, Girls with Doves 
and Sparrows, Swallow Nest with Young.— 
Brockhaus, iv. 773 ; Miller, 122. 

DAHL, MICHAEL, born in Stockholm 
in 1656, died in London, Oct. 20, 1743. 
First taught by Klocke. Went to England 
when twenty-two years old; then visited 
France and spent several years in Italy, re- 
turning to London in 1688. He became the 
rival of Kneller as a portrait painter, and 
gained the favour of Queen Anne. His like- 
nesses were good, but his art was destitute 
of refinement or grace. There are eight full- 
length portraits of ladies by him at Petworth. 
Works: Queen Anne and her son the Duke 
of Gloucester, George IL, James second 
Duke of Ormond, and Duke of Chandos, 
National Portrait Gallery. — Redgrave. 

DAHLEN, REINER, born in Cologne in 
1836, died in Dtisseldorf, April 25, 1874. — 
Landscape and animal painter, pupil of the 
Diisseldorf Academy, but mostly self-taught; 
visited England, North America, and Paris. 
Painted chiefly horses and carriages, hunt- 
ing scenes, and similar pictures. Works: 
By the Inn (1867); Shepherds and Herd 
(1868); Post-Wagon in Snow.—Blanckarts, 
70; Kunst-Chronik, ix. 498. 

DAHLING, HEINRICH, born at Han- 
over, Jan. 19, 1778, died at Potsdam, Sept. 
10, 1850. History and genre painter ; went 
in 1794 to Berlin as a miniature painter ; 
visited, in 1802, Paris, Cassel, Diisseldorf, 
The Hague, and Amsterdam, to study oil 
painting ; made member of the Berlin Acad- 
emy in 1811, and professor in 1814; visited 
Italy late in life. Works: Entry of a Prince 
(1822), National Gallery, Berlin ; Huntsman 
and Sleeping Girl, Wreath- Winders, Singing 
Match, Romance Singer, Blind Pilgrim, De- 
scent from the Cross, Come to me, ye that 
are heavy laden !—Brockhaus, iv. 774 ; Ro- 
senberg, Berl. Malersch., 31. 

DAIWAILLE, ALEXANDER JOSEPH, 
born at Amsterdam in 1818. Landscape 
painter, son and pupil of the genre and 
portrait painter Jean Augustin D. (1786— 
1850), then pupil of his brother-in-law, 


364 


DALBONO 


Barend C. Koekkoek. The animals in his 
landscapes were supplied by Eugéne Ver- 
_boeckhoven. Works: Summer and Winter 

(1841); Landscape on the Rhine; View in 
the Ardennes.—Immerzeel, i. 164. 

DALBONO, EDOARDO, contemporary ; 
lives in Naples. Genre painter ; represents 
Neapolitan life. Works: Neapolitan Water- 
Carrier ; Unrequited, Punished, and Happy 
Love, Cupid as Tyrant (Casa Miceli, Naples); 
Legend of the Sirens, Willer Gallery, Na- 
ples ; Beautiful Morning, It is going to Rain, 
Orange- Walk, Adeline in the Park.—L’Ilus- 
trazione italiana, 1875-76. 

DALCOLLE, RAFFAELLO. See Raffaello. 

DALENS, DIRK, of The Hague, born at 
Dordrecht, flourished about 1623-65. Dutch 
school. Landscape painter in the manner 
of Jan van Goyen; master of the guild at 
The Hague in 1632, went to Leyden in 
1636, but returned in 1637, and seems to 
have removed to Rotterdam about 1660-61. 
Works: Landscape with Shepherds (1635), 
Brunswick Museum; Landscapes (2, 1646), 
Haarlem Museum.—Kramm, ii. 317; Rie- 
gel, Beitrige, ii. 368. 

DALIPHARD, EDOUARD, born at Rou- 
en, Sept. 24, 1833, died there in 1877. 
Genre and landscape painter, pupil of G. 
Morin. Works: Spring in the Churchyard; 
Souvenir of the Forest of Eu (1873) ; Mel- 
ancholy (1875); Village Doorway, one of 
best pictures in Salon of 1876.—J. Hédou, 
Peintres rouennais (Rouen, 1883); L’Art 
(1877), x. 216. 

DALLINGER VON DALLING, ALEX- 
ANDER JOHANN, born in Vienna, Aug. 1, 
1783, died there in 1844. German school ; 
history and animal painter, son and pupil 
of Johann the elder; was a skilful restorer 
of old pictures, and an engraver. Works: 
Cows driven through a Brook (1831), Vien- 
na Museum.—Bibliog. below. 

DALLINGER VON DALLING, JO- 
HANN, the elder, born in Vienna, Aug. 13, 
1741, died there, Jan. 6, 1806. German 
school ; history and animal painter, pupil of 
Vienna Academy under Vincenz Vischer and 


Meytens ; from 1771 inspector of the Liech- 
tenstein Gallery. Many of his large altar- 
pieces and meritorious animal and battle 
pieces are in Poland and Russia.—Allgem. 
d. Biogr., iv. 711; Brockhaus, iv. 785; 
Wurzbach, ili. 1382, xxiv. 383. 

DALLINGER VON DALLING, JO- 
HANN BAPTIST, the younger, born in Vi- 
enna, May 7, 1782, died there, Dec. 19, 1868. 
Son and pupil of Johann the elder; painted 
landscapes and animals, especially horses, 
in style of Dutch masters, as well as genre 
pieces and portraits. Works: Horses graz- 
ing (1830), Horses in Stable (1832), Vienna 
Museum ; others in Liechtenstein Gallery. 
—Bibliog. above. 

DALMASIO, LIPPO DI. See Scanna- 
becchi. 

DALSGAARD, CHRISTEN, born at 
Krabbesholm, Jutland, Oct. 30, 1824. Genre 
painter, pupil of the Copenhagen Academy, 
and Rorbye; paints scenes from Danish 
peasant life. Member of Copenhagen Acad- 
emy since 1872. Works: Christmas Morn- 
ing (1848), Aarhus Gallery ; Girl at Win- 
dow, Boy at Luncheon, Country Parson ; 
Jutland Peasants going to Communion 
(1859); Seizure for Debt (1860); Meeting of 
Gudrun and Helge Harbenson (1861); Vis- 
itation (1862); The Good Shepherd (1864); 
Meeting with Olaf Paa; Steen Blicher con- 
versing on the Heath (1867); Isn’t he com- 
ing! Pious Assembly (1870); Corridor of 
Academy at Soré (1872); Dessert (1875); 
One of the Wise Virgins (1877); Ansgar and 
Odbert baptizing Mother and Child (1878); 
Fisherman and Daughter (1854), Mormons 
visiting Country Joiner, Going to Church 
after Confinement (1861), Copenhagen Gal- 
lery.—Sigurd Miller, 71; Weilbach, 129. 

DAME AU GANT (Lady with the Glove), 
Carolus-Duran, Luxembourg Museum ; can- 
vas, H. 7 ft..6 in. x5 ft. 4 in. Portrait of a 
lady, three-fourths length, putting on her 
Glove. 

DAMERON, CHARLES EMILE, born in 
Paris; contemporary. Landscape painter, 
pupil of Pelouse. Medals: 3d class, 1878 ; 


365 


DAMIANI 


2d class, 1882; Philadelphia, 1876. Works: 
Women washing (1874); The Pyramids, 
Oaks of Grand Moulin, Street at Fouche- 
rolles (1875) ; In the Bay of Poult-Gouin, 
Farm of Brohonniére (1876) ; Souvenir of 
Cernay-la-Ville, Winter (1877) ; The Aven 
in Finistérre (1878); The Beadle’s Path 
(1879) ; Farm at Kerlaven in the Evening, 
A Quarry (1880) ; Woodman’s Cabin in the 
Autumn (1881), Luxembourg Museum ; 
Fagots (1882); Valley of the Mantega 
(1883); Lake of Vaux-de-Cernay (1884) ; 
Approaching Storm (1885). 

DAMIANI, FELICE, born at Gubbio ; 
flourished 1584-1616. Lombardo-Venetian 
school; history painter, pupil of Ben. 
Nucci (?). 
menico, Gubbio; Decollation of St. Paul 
(1584), Castel Nuovo, Recanati ; Baptism of 
St. Augustine (1594), S. Agostino, Gubbio. 
He decorated, about 1596, two chapels in La 
Madonna de’ Lumi, San Severino, with illus- 
trations of life of the Virgin and Infancy of 
Christ. 

DAMINI, PIETRO, born at Castelfranco 
in 1592, died in Venice in 1631. Venetian 
school; history painter, pupil of Gio. Bat. 
Novelli; had won great reputation when he 
died of the plague. Executed many works 
at Castelfranco, Vincenza, Venice, Crema, 
and Padua. Works: Christ giving Keys to 
St. Peter, S. Clemente, Padua; Crucifixion, 
Tl Santo, Padua; Life of St. Philip, cloister 
of the Serviti, Vicenza. His brother Giorgio, 
a good portrait painter, died also of plague, 
in Venice, in 1631.—Baldinucci, iv. 689. 

DAMOPHILUS, painter and modeller in 
clay. One of the earliest Greek painters 
heard of in Italy. Decorated, with his com- 
panion Gorgasus, Temple of Ceres, Liber, 
and Libera at Rome (dedicated 494 B. c.).— 
Pliny, xxxv. 45 [154]. 

DAMOYE, PIERRE EMMANUEL, born 
in Paris; contemporary. Landscape paint- 
er, pupil of Corot, Daubigny, and Bonnat. 
Medals: 3d class, 1879; 2d class, 1884. 
Works: The Old Road at Auvers, The 
Fields (1875); Prairies of Mortefontaine 


Works: Circumcision, 8. Do- 


(1876, 1877) ; Pastures, The Downs at Cucq 
(1878); Mill of Merlimont (1879), Luxem- 
bourg Museum ; Fields at Auvers (1879); 
Crossway in Forest of Fontainebleau, In- 
undated Prairies (1880); Mill of Gouillan- 
deur, In the Landes of Carnac (1881); Isle 
of St. Denis (1882); After the Inundation 


(1883); Lake in Sologne, Plain of Gennevil- 


liers (1884); Road of the Dunes—Norman- 
dy, Swamp of Arleux (1885). 

DANA, WILLIAM P. W., born in Boston, 
Mass., in 1833. Marine and figure painter ; 
visited Paris in 1852 and became a pupil of 
Picot, Le Poitevin, and of the Ecole des 
Beaux Arts. Returned to America in 1862, 
elected N.A. in 1863. Medal, Paris, 3d 
class, 1878. Studio in Paris (1885). Works: 
Cliffs at Sunset; Waiting for the Fishing- 
Boats; Marine (J. P. Morgan, New York), 
Chase of the Frigate Constitution (Wiliam 
Astor, ib.); Low Tide at Yport; Foggy 
Morning — Coast of Normandy; French 
Peasant Girl; Heart’s-Ease; English Grey- 
hound; Moonlight at Sea; On the Beach at 
Dinard—Brittany (1879); Breakers, Channel 
Islands (1881); Bleak Day, Coast of Brit- 
tany (1882); Sea-Weed Gatherers, Brittany 
(1883); Near St. Malo, Brittany (Mrs. Isaac 
Bell), Seaside Harvest, Halt and the Blind, 
French Boats off for the Fishing-Grounds, 
End of a Storm (1884); Rough Weather, A 
Calm Night (1885). 

DANAE, Correggio, Palazzo Borghese, 
Rome; canvas. Danaé, nude, leaning against 
the cushions of a couch ; on the lower end 
sits Hymen, with outstretched wings, lifting 
her drapery to catch the golden rain-drops ; 
in front, two Cupids sharpening their arrows 
on a whetstone. Same history as the Leda 
of Correggio. Fetched 650 guineas at Or- 
leans sale ; in 1816 bought by Henry Hope 
for £183 ; afterwards sold in Paris for £285. 
One of the most beautiful of Correggio’s 
mythological pictures. Engraved by Du- 
change; Desrochers; Triére; Cunigo; Sur- 
rugue.—Meyer, Correggio, 352, 490; Kiinst. 
Lex., i. 441; Lermolieff, 195 ; Landon, Giu- 
vres, viii. Pl. 57; Mengs, Opere, ii. 148. 


366 


—————— 


SS. 


PL 


DANAE 


By Rembrandt, Hermitage, St. Peters- 
burg. Danaé, nude, reclining on a couch 
with green silk hangings ; 
_ behind, partly concealed by 
curtains, an old woman with 
a bunch of keys; in front, 
a table with red cover, and 
a rich girdle lying on the 
floor.—Smith. 

By Titian, Madrid Muse- 
um ; canvas, H. 4 ft. 2 in. 

x 5ft. 10in. Danaé, nude, ,— hes = a vy es 
in same position as the 4 fv JIN 2 —ZAI\<- 8 ia 
Danaé of Naples, but the | gg&Z yt 
shape is less refined ; a lit- 
tle dog lies curled up at 
her side, and, instead of 
the Cupid, an old woman 
at the foot of the couch 
greedily watches the gold Sy 
as it falls into her apron. n 
Painted in 1554 for Philip Danaé, Correggio, Pal. Borghese, Rome. 

Il. of Spain. Injured by cleaning and re-|the upper part of her form raised on white 
pairs. Repetitions, with changes, in Her-| cushions ; above, a livid cloud, from which 
mitage, St. Petersburg, and in Vienna Mu-| the golden rain is falling ; Cupid, with out- 
seum. Copy of Hermitage Danaé, Duke of! stretched wings and a gesture of surprise, 


; ‘EI WGZ = Sa SOT glides away to the right. 

pet y SY 3 Z te Wx | A marvel in light and 
jae oe os shade, modelling, and 

; tee ie flesh painting. Painted 

ee : 3 / #) in 1545 for Ottavio Far- 
AY 


Y arae 27 eo nese; in Farnese Collec- 
| 2x ZA | tion till after 1680. Un- 

NGS: a ee, evenly cleaned and re- 
touched in places. Many 
TaN copies. Extant reproduc- 
cy eas tions: Nostitz Collection, 
/ \. “Vee Prague; Dudley House, 
Sone hy “ede! London; Venice Acad- 
_ a Ne <7 emy; Lord Northwick’s. 
Ve Engraved by Strange.— 
CA Ol ian oo 
Ridolfi, Maraviglie, 1, 231 ; 
Vasari, ed. Mil., vi. 447; 
Klas. der Malerei, 1. Pl. 60. 


‘By Titian, Naples Museum ; canvas, fig- 
ure life-size. Danaé, nude, lies on a couch, 


I ESAS ROARED SOAS 
Ag FEATS VT RL 


~ 


2¢q 


Pe | f) . rp 3. 
ey) 3 
/ = a; % 
yp >, f 
iy y Wy 
d 7 « 
F 
iA 


Danaé, Titian, Viesihe Museum. By Anton van Dyck, 
Wellington, London ; copy of Vienna, Lady| Dresden Gallery ; canvas, H. 4 ft. 3 in. x5 
_ Malmesbury.—C. & C., Titian, 11. 227. ft. 10 in. Danaé, nude, lying upon a couch 


367 


DANBY 


covered with crimson drapery, extends her 
hands to catch the golden shower ; behind, 
an old woman with her apron extended ; at 
feet of Danaé, Cupid, kneeling.—Cat. Dres- 
den Mus. 

DANBY, FRANCIS, born in County 
Wexford, Ireland, Nov. 16, 1793, died 
at Exmouth, Devonshire, Feb. 10, 1861. 
Landscape painter, pupil in Dublin of 
O’Connor ; taught water-colour drawing in 
Bristol in 1813; went in 1825 to London, 
where the exhibition of his Delivery of Israel 
out of Egypt (Stafford House) procured him 
an election as A.R.A. From 1830 to 1842 
he lived on the continent, principally in 
Switzerland. He is chiefly noted for his 
calm evening scenes at sea, combined with 
some poetic sentiment or incident. Works: 
Upas Tree of Java (1820), S. Kensington 
- Museum ; Disappointed Love (1821); Sun- 
set at Sea (1824); Opening of Sixth Seal 
(1828) ; Golden Age (1831); Fisherman’s 
Home (1846), National Gallery, London; 
Evening Gun (1848). His son James Fran- 
cis (1816-1875) was a landscape and marine 
painter, who exhibited at the R. Academy 
and Society of British Artists. Thomas 
Danby, a younger son, is a contemporary 
landscape painter, residing in London. 
Member of Society of Water Colour 
Painters.— Art Journal, April, 1861; Cat. 
R.. Acad.; Redgrave ; Ch. Blanc, Keole an- 
glaise ; Sandby, 11. 68. 

DANCE, NATHANIEL. See Holland. 

DANCKERTS DE RY, PIETER, born in 
Amsterdam in 1605, died in Stockholm in 
1659. Dutch school; portrait and genre 
painter, supposed son of Cornelis Danck- 
erts de Ry, engraver (born 1561, died 
after 1634); went to Stockholm, where he 
became court painter. Works: Portrait 
of Wladislas IV. of Poland; C. Danckerts 
de Ry (1634), and wife, Brussels Museum.— 
Fetis, Cat. du Mus. royal, 302. 

DANDINI, PIETRO, born in Florence in 
1646, died in 1712. Florentine school; 
history painter, nephew and pupil of Vin- 
3enzo D.; travelled through Italy and stud- 


ied the Venetian and Lombard masters. On 
his return to Florence painted in oil and 
fresco for Grand Duke Cosmo III., and exe- 
cuted works in 8. M. Maddalena and S. M. 
Maggiore. His son Ottaviano (died about 
1750) painted in his style. Works in S. 
Spirito and §. Lorenzo, and in Church of 
Magdalen, Pescia.— Wornum, Epochs, 357 ; 
Lanzi. 

DANDINI, VINCENZO, born in Flor- 
ence in 1607, died there in 1675. Floren- 
tine school ; history painter, brother and 
pupil of Cesare D.; afterward studied in 
Rome under Pietro da Cortona, whose style 
he followed. Became principal of the Acad- 
emy in Rome, returned to Florence, and 
executed public works in churches and pal- 
aces. His brother Cesare (1595-1658) was 
also a history painter of some repute.— 
Wornum, Epochs, 357. | 

DANDRE-BARDON, MICHEL FRAN- 
COIS, born at Aix (Provence), May 22, 


1700, died in Paris, April 13, 1783. French 


school ; history painter, pupil of J. B. van 
Loo and of J. F. de Troy; afterwards 
studied six years in Rome. Member of 
Academy in 1735, professor in 1752, rector 
in 1778 ; was one of founders of Marseilles 
Academy. He was an excellent designer 
and etcher, of considerable repute as a 
painter of the nude, and a poet and writer 
on history and taste. He left a biography 
of Van Loo. Works: Augustus ordering 
the Punishment of Defaulters (1729), Aix 
Museum ; Tullia driving over her Father’s 
Body (1735), Montpellier Museum ; Christ 
on Cross, Marseilles Museum. Some of his 
drawings are in the Louvre, the Montpellier 
Museum, and the Copenhagen Museum.— 
Bellier de la Chavignerie, i. 333 ; Lejeune, 
Guide, iii. 70; Gaz. des B. Arts (1860), v. 
142 ; Larousse. 

DANEDI, GIUSEPPE, called Montalto, 
born at Treviglio in 1618, died at Milan in 
1688. Bolognese school; history painter, 
pupil in Bologna of Guido Reni; settled in 
Turin, where he executed public works; 
afterwards aided his brother in Milan. 


368 


——_ —- ee ee 


DANEDI 


Works: St. Anthony of Padua caressing 
Infant Jesus, Dresden Gallery ; Massacre of 
Innocents, 8. Sebastiano, Milan. 
—  DANEDI, STEFANO, called Montalto, 
born at Treviglio in 1608, died at Milan in 
1689. Bolognese school; brother of Giu- 
seppe D.; history painter, pupil of Moraz- 
zone. Painted many works for churches in 
Milan. His Martyrdom of St. Justina, in S. 
Maria in Pedone, is one of his best. 
DANHAUSER, JOSEF, born in Soe 
Aug. 18, 1805, died < 
there, May 4, 1845. 
History and genre 
painter, son of a cabi- 
net-maker. After suc- 
cessfully devoting him- 
self to the violin, he 
studied in the Vienna 
Academy under Peter 
Krafft, and in 1826 
went to Venice on in- 
vitation of the poet Ladislas hae from 
whose Rudolph of Hapsburg he had painted 
several pictures with success. Discouraged 
by the works of Titian and Veronese, he 
turned from history to genre for a time, but 
returned to the former at a later period and 
gained the great prize for an historical pict- 
ure in 1836. After the death of his father, 
in 1829, he for some years carried on the 
cabinet business at Vienna, gaining repute 
as a designer of artistic furniture. He was 
corrector at the Academy from 1838, then 
professor in 1840-42, when he resigned in 
consequence of critical disputes. He then 
travelled in North Germany, Holland, and 
Belgium, and might have surpassed his for- 
mer efforts had not the death of his younger 
brother brought on a fit of melancholia, 
which hastened his death. Works: Abra- 
ham casting off Hagar, Scholar’s Room in 
Painter’s Studio (1828), Comic Scene in a 
Studio (1829), Opening the Will (1839), 
Vienna Museum ; Pegasus in the Yoke 
(1830) ; New Year Congratulations (1831) ; 
Ottaker’s Death (1832) ; Girl confessing her 
Fall (1834) ; Martyrdom of St. John (1835); 


Hagar and Ishmael, Glutton (1836), Oeu- 
list (1837) ; Klostersuppe, Chess, Opening 
of the Will, The Widow’s Penny (1839) ; 
Liszt at the Piano, Comfort to the Op- 
pressed, Woman, Wine, and Song, Release 
from Seizure (1840); Little Painter, Lit- 
tle Virtuoso, Child and its World, Village 
Politician (1844) ; Wine Taster, Old Mother 
Asleep (1845); Prayer of Carthusians at 
Table, Bagpiper, Archeologist, Rest after 
Work (last picture).—Allgem. d. Biogr., 
iv. 726; Andresen, iv. 201; Wurzbach, iii. 
153. 

DANIEL, Michelangelo, 
Rome ; fresco on ceiling. 

DANIEL IN LIONS’ DEN, Rubens, Duke 
of Hamilton ; canvas, H. 7 ft. 6 in. x 10 ft. 
10 in. Daniel, nearly nude, seated with 
clasped hands, looking beseechingly up- 
ward ; around him nine lions and lionesses, 
life-size, in varied actions. One of the few 
great pictures by Rubens painted entirely 
by his own hand. Presented by Sir Dudley 
Carleton to Charles I. Hamilton Palace sale 
(1882), £5,145, to C. B. Denison; Denison 
sale (1884), £2,000, to Duke of Hamilton. 
Engraved by Blooteling, Van der Leuw, 
Lamb ; mezzo, J. Ward; etched by Street. 
—Waagen, Art Treasures, iii. 296; Smith, 
xl. 162; Cat. Ham. Pal. sale, 21; Acad., 
xxi. 456. 

DANIELE DA VOLTERRA. See VJol- 
terra. 

DANIELL, THOMAS, born at Kingston- 
on-Thames in 1749, died at Kensington, 
March 19, 1840. Son of an innkeeper and 
apprentice to a painter of heraldry ; student 
at Royal Academy in 1773, began to exhibit 
in 1774, became A.R.A. in 1796, and R.A. 
in 1799. Went to the East in 1784 with his 
nephew William and travelled ten years in 
India, making many remarkable sketches. 
After this his pictures were chiefly Oriental 
views and scenes, such as tiger hunts and 
other sports. He published several books 
of Eastern scenery. His View on the Nul- 
lah is in the National Gallery. His neph- 
ews William (1769-1837, R.A. 1822) and 


Sistine Chapel, 


369 


DANLOUX 


Samuel (1775-1811) were landscape paint- 
ers.—Redgrave ; Sandby, i. 314. 
DANLOUX, HENRI PIERRE, born in 
Paris, Feb. 24, 1758, died there, Jan. 3, 
1809. Portrait and history painter, pupil 
of J. B. Lépicié and of Vien ; went early to 
Italy, and on return to Paris gained reputa- 
tion by pictures in style of Greuze. In 1791 
went to London, where he remained until 
1802, and painted portraits of many emi- 
nent persons. His portrait of Charles X. 
is in Fitzwilliam Museum, Cambridge ; that 
of Jacques Delille in the Versailles Museum. 
His Punishment of a Vestal (Salon, 1802) is 
referred to by his friend the poet Delille in 


PH Anliw 


his poem on Pity.—Ch. Blane, Ecole fran- 
caise ; Bellier de la Chavignerie, i. 335. 
DANNAT, WILLIAM T., born in New 
York in 1853. Figure painter, pupil of 
the Royal Academy, Munich, and of Mun- 
kacsy in Paris. Has painted in Munich, 
Florence, Spain, and in Paris. Medal: 


W'T-Dan NAT /#= 


Paris, 3d class, 1883. Works: Bavarian 
Peasant (1878); Aragonese Contrabandist 
(1883); Castanet Dance, A Quartette (1884). 

DANSAERT, LEON (MARIE CON- 
STANT), born in Brussels, Oct. 2, 1830. 
Genre painter, pupil in Paris of Gadnatd 
Frére ; travelled in France, Germany, and 
Italy; lives at Kcouen. Paints especially 18th 
century scenes in rococo costume. Works: 
Auction in 18th Century, Les Porcherons 
(1868); Wedding Feast, Vive le Roi! (1869); 
Before the Sale (1870); Café at End of 18th 
Century (1872); Before Meeting (1873); Af- 
fray in Tavern, Flower Market (1874); Read- 
ing the Contract (1877); Game at Dominos 
(1878); Crumbling World (1879); At the Bar- 
rier (1883), 


DANSE DES AMOURS, Camille Corot, 
Charles A. Dana, New York; canvas. A 
valley, with lake in background; nymphs 
dancing in foreground; at right, a wooded 
hill, with a Greek temple and figures. 

DANSE DU BATON (Staff Dance), Jean 
Léon Géréme. A girl, loosely robed, hold- 
ing a long staff in her hands, is dancing 
before a party of Arnauts, one of whom is 
playing a musical instrument. Painted in 
1884. . 

DANTAN, JOSEPH EDOUARD, born in 
Paris, Aug. 26, 1848. History painter, pupil 
of Pils and of H. Lehmann; son of Jean 
Pierre D., the sculptor. Studio in Paris. 
Medals: 3d class, 1874; 2d class, 1880. 
Works : Destruction of Pompeii (1869); The 
Trinity (1872), chapel of the Hospital in 
Brezen-on-the-Marne; Hercules at the Feet 
of Omphale, Monk carving a Crucifix (1874), 
Nantes Museum; The Quoit-Thrower (1875); 
The Nymph Salmacis and Hermaphroditus 
(1876); Christ calling Peter and Andrew 


(1877); Christ on the Cross, Church of Dom- _. 


browa, Poland ; Corner of a Studio (1880), 
Luxembourg Museum ; The Model’s Break- 
fast (1881); Corpus Christi Day (1882); Le 
Paradou, Interior at Villerville (1883); 
Moulding Shop, Turner’s Shop (1884); Bur- 
ial of a Child (1885). 

DANTE, portrait, Giotto, Chapel of the 
Podesta or Bargello, Florence. The poet, 
then about twenty years of age, is represent- 
ed with Corso Donati, Brunetto Latini, and 
a fourth personage, standing behind Charles 
of Valois, in the lower part of a fresco of 
Paradise painted on each side of a window. 
This fresco, mentioned by Vasari as visible 
in 1550, in which the painter had embodied 
the transient peace imposed on the Floren- 
tines in 1301, by Cardinal Acquasparta in 
the name of Pope Boniface VIIL, was white- 
washed when the palace was turned into a 
jail and the chapel into a storeroom. It thus 
remained degraded and forgotten until 1840, 
when, through the exertions of Messrs. Kirk- 
up, Wilde, and Bezzi, it was brought to light 
in an injured condition. The eye of the 


370 


DANTE 


poet was completely destroyed. Fortunately, 
Mr. Kirkup was able to make a tracing of 
the head, afterwards published by the Arun- 
del Society, before Marini damaged its ex- 
pression and character by painting in a too 
small and ill-drawn eye, and retouching the 
whole face, as well as the cap and clothes. 


Dante, Giotto, Florence. 


This likeness of the poet by Giotto, and the 
well-known death mask, believed to have 
been taken from Dante’s face after death, 
are undoubtedly the most authentic records 
of his appearance at different periods of his 
life, and as such invaluable. ‘The one,” 
says Prof. Norton, “is the young poet of 
Florence, the other the supreme poet of the 
world.” In the Munich Gallery there is a 
profile likeness of Dante said to have been 
painted by Masaccio ; and Mr. Morris Moore 
has in his possession at Rome another profile 
in oils, probably copied from Giotto’s fresco, 
though with certain changes in costume de- 
tails. Ideal heads of Dante, taken either 
from the fresco or the mask are, the three 
by Raphael in the Dispute, the School of 
Athens, and the Parnassus ; and in modern 
art those of Scheffer, in his Dante and Bea- 
trice and his Francesca da Rimini; of Dela- 
croix in his Dante and Virgil crossing the 
Styx (Louvre); of Corot in his Danie and 


Virgil entering the Selva Oscura (Boston 
Museum of Fine Arts); and of Rossetti in his 
Vision of Dante.—Vasari, i.; C. E. Norton, 
Original Portraits of Dante (1865); M. Paur, 
Jahrbuch der Deutschen Dante Gesellschaft 
(1869); Spectator, May 11, 1850 ; The Cent- 
ury (1884), xxvii. 574, 956. 

DANTE AND BEATRICE, Henry Aoli- 
day, Liverpool Gallery; canvas, H. 4 ft. 7 in. 
x6 ft. 7in. Dante standing at right, with 
his right hand upon a stone parapet on the 
bank of the river, presses his heart with his 
left hand, as Beatrice, accompanied by two 
maidens, passes by; in background, the Arno 
and the Ponte Vecchio. Grosvenor Gallery, 
1883. Etched by C. O. Murray.—Art Journal 
(1884), 7. 

By Ary Scheffer, Mr. A. M. Hemming, near 
Utrecht, Netherlands; canvas, figures life- 
size. Beatrice, full length, clad in a robe of 
pale rose-colour, stands on a cloud to right, 
with her eyes fixed on the sun (Paradiso, 
Canto i. 46), Her right hand rests on her 
breast, and her left hangs by her side. 
Dante, to left and on a lower plane, seen 
only to the knees, wears the red hooded cap 
and long red tunic of the Florentines, and, 
like Beatrice, gazes upward to the divine 
light, which, through her power, he is en- 
abled to contemplate. Engraved by N. Le- 
comte. Scheffer painted this subject three 
times. The second picture, two-thirds life- 
size, belongs to C. C. Perkins, Boston ; the 
third, with figures considerably under life- 
size, is in England, and was exhibited at 
Manchester in 1857. 

DANTE AT RAVENNA, Jean Léon Gé- 
rome, Morris K. Jesup, New York; canvas, 
H. 1 ft. 8in.x3 ft. Dante, walking at left 
in the meadows, beyond the walls of the 
city, which is seen in the background; groups 
of citizens gaze after him as he passes, and 
point him out to be avoided, according to 
the legend, as one who had seen hell. En- 
graved by J. Levasseur. — Art Treas. of 
Amer., ii. 139. 

DANTE AND VIRGIL, Camille Corot, 
Boston Art Museum; canvas, H. 8 ft. 6 in. 


371 


DANTE 


x5 ft. 6 in. The two poets in a landscape, 
at the entrance to Hades, and the three sym- 
bolic beasts: the panther, signifying Flor- 
ence and worldly pleasure ; the lion, France 
and ambition; the female wolf, Rome 
and avarice. Presented by Q. A. Shaw, 
1875. 

By Eugéne Delacroix, Louvre, Paris ; can- 
vas, H. 5 ft. 11 in. x 7 ft. 10 in,; signed, 
dated 1822. Scene from Dante’s Inferno 
(vii.). Dante and Virgil, conducted by 
Phlegeas, cross the lake which surrounds 
the infernal city of Dis. Among the spirits 
which clutch at the boat as it passes, Dante 
recognizes some Florentines. Salon, 1822. 
Formerly in Luxembourg. 

DANTE, VISION OF, Dante Gabriel 
Rossetti, Liverpool Gallery ; canvas. Scene 
from Vita Nuova: Dante’s dream on the 
day of Beatrice’s death, J une 9, 1290. Love 
{the pilgrim of Love of the Vita Nuova) 
leads by the hand Dante, who walks con- 
scious, but absorbed as in sleep, into a 
chamber of dreams, strewn with poppies, 
where Beatrice lies on a couch as if just 
fallen back in death; Love bends over her 
with a kiss, while two dream-ladies hold 
suspended for an instant the pall full of 
May blooms. Original sketch exhibited at 
Liverpool Academy, 1858; painted in 1870; 
acquired by Liverpool Gallery in 1881.— 
Atheneum, Aug., 1881, 250; Jan., 1883, 
94; Blackwood, March, 1883, 399. 

DANTE, GIROLAMO, called Girolamo 
di Tiziano, flourished in Venice in 1547-80. 
Venetian school; history painter, pupil of 
Titian, and his assistant in some of his 
minor works. The altarpiece, SS. Cosmo 
and Damian, in 8. Giovanni Nuovo, is at- 
tributed to him.—Vasari, ed. Le Mon., xiii. 
194. 

DAPHNE. See Apollo and Daphne. 

DAPHNEPHORIA, Sir Frederick Leigh- 
ton, J. Stewart Hodgson ; canvas, H. 7 ft. 8 
in. x 17 ft. Triumphal procession held 
every ninth year at Thebes, in honour of 
Apollo, to commemorate a victory of the 
Thebans over the AXolians of Arne. Name 


derived from laurel branches carried by 
those who took part. The procession, head- 
ed by a priest called the Daphnephoros, 
moves through a wood ; city of Thebes in 
distance, in a valley at left. A decorative 
picture, painted for the country house of the 
present owner. Royal Academy, 1876. Fac- 
simile of original sketch in Art Journal 
(1881), 152.—Art Journal (1881), 136. 

DAPHNIS AND CHLOE, Paris Bordone, 
National Gallery, London ; canvas, H. 4 ft. 
5 in. X83 ft. 1lin. The two seated on a 
bank among trees; Cupid crowns Chloe 
with a wreath of myrtle.—Cat. Nat. Gal.; 
Richter, 87. 

By Francois Gérard, Louvre; canvas, H. 
6 ft. 6in. x7 ft. 6in. At left, on the bank 
of a stream which pours as a cascade out of 
a grotto, Daphnis is seated upon the trunk 
of a tree, plaiting a crown of flowers ; Chloe 
sleeps at his feet, her head resting against 
his knees. Salon, 1824. Acquired in 1825 
for 25,000 fr. Engraved by Richomme. 

DAPPER. See Tamm. 

DARDOIZE, EMILE, born in Paris ; con- 
temporary. Landscape painter. Medal: 
3d class, 1882. Works: At Maintenon, Pond 
of Cernay, Valley of Cernay (1875) ; Moon- 
rise, Sunset (1876) ; Washer-women at Pond 
of Cernay, Greenfinch Nest (1877); From 
Royat to Fontanas, Road in Fontainebleau 
Forest (1878); At Maintenon, Autumn 
(1879) ; Sunset, Forest-brook (1880) ; Even- 
ing, Morning on the Creuse (1881); Twi- 
light, A Corner of Cernay (1882) ; Notch 
near Falaise, Val du Sud (1883); The 
Source, To the Moon (1884); Brittany 
Road at Pont d’Ouilly, Seine at Coudray 
(1885). 

DARGELAS, HENRI, born at Bordeaux, 
October 11, 1828. Genre painter, pupil 
of Picot; lives at Ecouen (Seine-et-Oise). 
Medal in 1864. Works: Challenge, T. A. 
Havemeyer, New York; Apple Stealers, A. 
E. Borie Collection, Philadelphia ; Kept In, 
K. B. Warren, Philadelphia ; In the Woods, 
J. Hoey, New York; Fagot Gatherers, G. 
Hoadly, Cincinnati; Gardener’s Child; In- 


372 


DARGENT 


terior of a School (1868); The Butterfly ;| 


A Push, Return from School (1885). 
DARGENT, EDOUARD YAN, born at 
‘St. Servais, Finistérre, in 1824. Landscape 
painter; has also decorated the Cathedral 
_ of Quimper, and furnished designs for news- 
papers and books. Studio in Paris. L. of 
Honour, 1877. Works: The Return, Wo- 
men Bathing (1851); By the Sea (1852); 
The Birdnesters, The Wagon (1853); The 
Last Rays (1855); Sea-Shore at Lokirech, 


St. Primel (1875); Banks of the Scorf, Cliff 
at Morgat (1876). 

DARIO DA TREVISO, of Padua, latter 
half of 15th century. Mentioned in accounts 
of the Basilica di S. Antonio in 1446 as a 
pupil of Squarcione. His only existing pict- 
ure is a Virgin of Mercy in the gallery of 
Bassano, a very poor production, false in 
drawing, dull and dirty in colour. He de- 
voted himself chiefly to the decoration of 
house-fronts, and many examples of his in- 


Tent of Darius, Charles Lebrun, Louvre, Paris. 


Salvage at Guisseny (1857); St. Houardon 
(1859); Washerwomen of the Night (1861); 
Vapour, Evening on the Moors (1863); Ob- 
stinate Cow (1864); Death of the last Bre- 
ton Bard (1865); Souvenir of Childhood, 
Druidical Stone (1866) ; Maurice Rock, Klo- 
arck in Vacation Time (1868) ; The Little 
Thumb (1869); Intemperance, Work (1870); 
Wheelwright of Laouic (1872); Wells of 
Santa, Path to the Ramiers at Brézal (1873); 
St. Roch in Solitude, Korn-boud in Finis- 
terre (1874); Path near Telgruc, Cliffs at 
Goulliers near Cape Raz, St. Corentin and 


dustry of this kind exist in Treviso, Serra- 
valle, and Conegliano.—C. & C., N. Italy, 1. 
350, 

DARIUS, FAMILY OF, Paolo Veronese, 
National Gallery, London; canvas, H. 7 ft. 
8 in. x 15 ft. 6 in. The captive family, 
taken after the battle of Issus, presented to 
Alexander by one of the ministers of Darius, 
kneeling in centre; to right, Alexander, 
in red armour, with Hephestion and Par- 
menio ; in background, a marble arcade, 
from the top of which many spectators are 
looking down. One of Veronese’s grandest 


373 


DARIUS 


and best preserved works. Painted for Pi- 
sani family, of whom the principal figures 
are portraits, and preserved in Palazzo Pi- 
sani, Venice, until purchased for National 
Gallery in 1857. Richter thinks the kneel- 
ing girls are the artist’s daughters, and the 
man with the long gray beard his brother 
Benedetto.—Kugler (Eastlake), ii. 554; Ri- 
dolfi, Marav., ii. 60; Richter, Ital. Art in 
National Gallery, 74. 

DARIUS, TENT OF, Charles Lebrun, 
Louvre, Paris; canvas, H. 9 ft. 9 in. x14 ft. 
10 in. Alexander, accompanied by Hephees- 
tion, visits in their tent the family of Darius, 
captured at the battle of Issus. Sisygambia, 
mother of Darius, prostrates herself before 
Hepheestion, mistaking him for Alexander. 
Recognizing her error, she attempted an 
apology, when the King interrupted her, say- 
ing, “You are not deceived. He is another 
Alexander.” The royal captives are attended 
by women, priests, and eunuchs. Engraved 
by G. Edelinck, Devilliers, G. Audran.— 
Landon, Musée, ii. Pl. 57; Filhol, i. Pl. 55. 

DARLEY, FELIX O. C., born in Phila- 
delphia, Pa., June 23, 1822. Genre painter, 
self-taught. Works almost exclusively in 
black and white; well known as an il- 
lustrator; has travelled and sketched in 
Europe. Elected an N.A. in 1852. Works: 
First Blow for Liberty ; Foraging in Virginia ; 
Emigrants attacked by Indians (painted for 
Prince Napoleon); Scene in the Streets of 
Rome ; Cavalry Charge at Fredericksburg— 
Virginia (1867); March to the Sea; Sheep- 
fold; Mount Desert; A Cold Snack; Puri- 
tans surprised by Indians.— Tuckerman, 
471. 

DAUBAN, JULES JOSEPH, born in 
Paris, May 31,1822. History painter, pupil 
of Auguste Debay; director of School of 
Fine Arts at Angers. Has also decorated 
churches and other buildings. Medal, 1864; 
L. of Honour, 1868. Works: Louis XI. 
making Guillaume de Cérizay Mayor of An- 
jou (1861) ; Trappists receiving a Stranger 
(1864), Luxembourg Museum ; Trappists 
eiving each other the Kiss of Peace before 


Communion (1865), Angers Museum; Death 
of a Trappist (1867); Mme. Roland going to 
the Revolutionary Tribunal (1869); Fra 
Angelico da Fiesole (1873) ; Resurrection of 
Lazarus, Church of St. Bernard, Paris. 
DAUBIGNY, CHARLES FRANCOIS, 
born in Paris, 


died there, Feb. 
— 20, 1878. Land- 

scape painter, 

son and pupil of 

Edmé Francois 

D. (1789-1843), 

landscape paint- 

er; visited Italy, 

and returning in 
1836, studied under Delaroche. Exhibited 
at nearly every Salon after 1838. Medals: 
2d class, 1848; 1st class, 1853; 3d class, 
1855; 1st class, 1857, 1859, and 1869; L. 
of Honour, 1859, Officer, 1874. An excel- 
lent landscape painter, especially of river 
scenes, which he painted from a floating 
studio. Left many etchings. Works: The 
Seine at Bezons, St. Jerome in the Desert 
(1840); Harvest (1852); Banks of the Seine 
(1852), Nantes Museum; Pool of Gylien 
(1853) ; Sluice in Valley of Optevoz (1855), 
Luxembourg Museum ; Springtime (1857) ; 
Banks of the Oise (1861); The Vintage 
(1863), Luxembourg Museum; Windmills 
at Dordrecht (1872); Fields in June (1873); 
House of Mother Bazot at Valmandois (1874); 
Fruit-Garden in Normandy (1875); Moon- 
rise, View of Dieppe (1877). Works in 
United States: Morning, Miss C. L. Wolfe, 
New York; Morning—Landscape, A. Bel- 
mont, New York; Landscape, T. H. Steb- 
bins, New York; Landscape, M. Graham, 
New York; Spring Lake, Shady Pool, Be- 
fore the Storm, Coast of Normandy, Sunset, 
B. Wall, Providence; Landscape, T. Wig- 
glesworth, Boston; Landscape, H. P. Kid- 
der, Boston; River Scene, G. Hoadly, Cin- 
cinnati; Landscape—Morning, 8S. A. Coale, 
St. Louis; Landscape, Charles Parson, ib. ; 
Landscape, View on the Seine, C. H. Wolff, 


374 


Feb. 15, 1817, 


DAUBIGNY 


Philadelphia; Heath, Mrs. J. G. Fell, Phila- 
delphia; Morning, Twilight, Evening, J. C. 
Runkle, New York; Landscape, M. K. Jes- 
up, New York; River Landscape, Land- 
scape, J. D. Lankenau, Philadelphia; On the 
Seine, C. S. Smith, New York; Twilight 
(1866), Sunset on Coast of France (1865), 
Landscape (1872), Sunset (1874), W. T. 
Walters, Baltimore ; Landscape—Evening, 
W. H. Vanderbilt, New York; River and 
City, A. E. Borie Collection, Philadelphia; 
View on the Seine, River Scene, H. C. Gib- 
son, Philadelphia.—Henriet, C. D. et son 
cuvre gravée (Paris, 1875); L’Art (1881), 
xxv. 73; L’Artiste (1857), 1. 179, 195; 
Claretie, Peintres, etc. (1882), 265; Gaz. 
des B. Arts (1874), ix. 255, 464. 

DAUBIGNY, KARL PIERRE, born in 
Paris, June 9, 1846. Landscape painter, 
son and pupil of C. F. Daubigny. He imi- 
tated his father at first, but has gradually 
formed a style of his own. Medals: 1868 ; 
3d class, 1874. Works: Island of Vaux in 
Oise, A Path (1863); Meadow at Villerville, 
The Oise at Auvers (1864); Autumn, Hollow 
Road (1865); View in Picardy, Gypsies 
Halting (1866); two landscapes (1867); 
Winnowers at Kenty, Plateau of Bellecroix 
(1868); Rocks at Pen’marck, Fishing-Boats 
at Tréport (1869); Farm at Toutain, Fishing- 
Boats (1870); Return of the Fishing Fleet 
to Trouville, Creuniers at Ingouville (1872) ; 
Return of the Fishermen to Cancale (1873); 
Road to Paris, Farm of St. Siméon at Hon- 
fleur (1874); Valley of Porteville, Shipping 
the Oysters, Snow (1875); St. Siméon Farm, 
Seine-Net Fishing (1876); Shipping Herring- 
Nets (1877); Environs of St. Siméon Farm 
(1879); Falling Leaves, Seine at Rangiport 
(1880); Overflowed Meadow in Normandy 
(1881); Old Road at Auvers, Return of the 
Fishermen to Berck (1882); 'Tréport (1883) ; 
Sunrise in Normandy (1884); Sables d’Ar- 
bonne—Fontainebleau, Bay of Etaples— 
Picardy (1885).—Larousse. 

DAUBIGNY, PIERRE, born in Paris, 
Oct. 30, 1798, died there, July 15, 1858. 
Miniature painter, pupil of Aubry; brother 


of Edmé Francois D. Medal: 3d class, 
1833, for portraits of Mme. de Marescalchi, 
Alfred de Vigny, and General Gourgeaud. 
His wife, Amélie Dautel (1796-1861), also a 
miniature painter, won a medal of the 3d 
class in 1834. 

DAUPHIN, FRANCOIS GUSTAVE, born 
at Belfort (Haut-Rhin), June 7, 1804, died in 
Paris, May 23, 1859. History painter, pu- 
pil of Hersent. Exhibited very few pictures, 
but those display a certain grandeur of style. 
Medals: 3d class, 1842; Ist class, 1845. 
Works: Christ bearing his Cross (1841); 
Mater Dolorosa (1842); Judas’ Kiss (1845); 
Christ’s Last Moments (1850); cartoons of 
Christ on the Cross and of Christ going to 
Calvary, Virgin and St. John, etc. 

DAUZATS, ADRIEN, born at Bordeaux, 
July 16, 1804, died in Paris, Feb. 18, 1868. 
Landscape painter, pupil of Lacour in Bor- 
deaux and of Gué in Paris. Travelled in 
France, Spain, Scandinavia, Egypt, and 
Syria. Painted chiefly water-colour inte- 
riors. Medals: 2d class, 1832; 1st class, 
1855; L. of Honour, 1857. Works: Front 
of the Seminary of San-Telmo in Seville 
(Bordeaux Museum); Gitanos, Mosque on 
the Nile; Church of Belem in Lisbon; Gi- 
ralda of Seville; Pass of Bibans; Convent 
of St. Catherine on Mt. Sinai; Cathedral of 
Toledo; Chapel of the Escorial; Fountain 
near a Mosque; View of Cairo; Environs of 
Blidah ; Environs of Damascus; Pass of the 
Tron Gate.—Larousse ; Kunst-Chronik, 11. 
100; iv. 85; Vapereau. | 

DAVANZI, JACOPO. See Avanzi. 

DAVID AND ABIGAIL, Guercino, 
Bridgewater House, London; canvas, fig- 
ures life-size. Fine composition, but heads 
uniform and unmeaning, forms hard, and 
effect out of keeping. In collection of Cardi- 
nal Mazarin, afterwards in Orleans Gallery, 
whence bought by Duke of Bridgewater for 
£800. Injured by retouching.—Waagen, 
Treasures, 11. 36. 

DAVID, GHEERARDT, born at Oude- 
water about 1450, died in Bruges, Aug. 13, 
1523. Flemish school; took the freedom 


375 


DAVID 


of the guild in Bruges in 1484, was its dean 
in 1501-2; appears also in the guild of Ant- 
werp in 1515. Probably a pupil of Mem- 
ling. Works: Madonna with Saints (1509), 
Rouen Museum ; Baptism of Christ (1507), 
Two scenes from history of Cambyses (1498), 
Bruges Academy ; Crucifixion, Berlin Mu- 
seum; Madonna with Angels, Darmstadt 
Museum ; Adoration of Magi, Madonna with 
Female Saints, Old Pinakothek, Munich ; 
Marriage at Cana, Louvre, attributed to un- 
known; Triptych (Madonna and Saints), 
Municipal Palace, Genoa; Canon and Pa- 
tron Saints, National Gallery, London.— 
Biog. nat. de Belgique, iv. 711; C. & C.,, 
Flemish Painters, 300 ; Dohme, 11.; Forster, 
Denkmale, XL. iii. 21; XIL iii. 7; Gaz. des 
B. Arts (1866), xx. 542; xxi. 489 ; Michiels, 
iv. 181; W. & W., i. 55. 

DAVID AND GOLIATH, Guido Reni, 


FP cs LB 
David and Goliath. 
Hermitage, St. Petersburg. David, wear- 
ing a red cap with a yellow and white plume 
on his head, and dressed in blue drapery 
trimmed with fur, holds the sling in his 


right hand (which rests on the shaft of a 
column) and the head of Goliath in his left. 
The giant’s sword lies at his feet. Formerly 
in the Zampieri Gallery, Bologna. Repeti- 
tions in the Louvre, Paris, and the Liech- 
tenstein Gallery, Vienna. Louvre copy, en- 
graved by Beisson, Rousselet, and others.— 


Filhol, ii. Pl. 110; Landon, Musée, vi. Pl ~ 


34. 

By Michelangelo, Sistine Chapel, Rome ; 
fresco on ceiling. | 

DAVID PLAYING THE HARP, Domeni- 
chino, Louvre ; canvas, H. 7 ft. 10 in. x 5 ft. 
7 in. David singing, his eyes raised to 
heaven, and accompanying himself on the 
harp; to left, an angel holds open before 
him a book; in background, to right, an- 
other angel transcribes the psalms which 
David sings, and holds the sword with which 
he cut off the head of Goliath. Sent from 
Italy to Cardinal Mazarin, from whose col- 
lection it passed to Louis XIV. Engraved 
by G. Rousselet.—Filhol, v. Pl. 296; Lan- 
don, Musée, ii. Pl. 33. 

DAVID, (JACQUES) LOUIS, born in 
Paris, Aug. 
31, 1748, died 
in Brussels, 
Dec. 29, 1825. 
History paint- 
er, pupil of 
Vien, and 
founder of the 
classical French 
school. Won 
in 1771 2d prix 
de Rome, and 
in 1774 1st prix de Rome ; went in 1775 to 
Rome, where he remained until 1780, when 
he returned to Paris, was elected associate 
member of the Academy, and regular mem- 
ber in 1783. Revisited Italy, and in 1787 
went to Belgium. In the revolution he was 
an adherent of Robespierre, after whose 
downfall he narrowly escaped the guillo- 
tine, and was sentenced to seven months’ 
imprisonment. Appointed first painter to 
Napoleon, he devoted his brush to the glo. 


3%6 


DAVIS 


rification of the empire, and when exiled 
after the restoration settled in Brussels. 
Officer and Commander of L. of Honour. 
“Works: Combat of Minerva against Mars 
and Venus (1771), Academic Figure (1779), 
Oath of the Horatit (1784), Belisarius asking 
Alms (1784), Paris and Helen (1788), Brutus 
(1789), Sabine Women (1799), Leonidas at 
Thermopyle (1814), portrait of himself in 
youth, portraits of M. Pécoul (1783), Mme. 
Pécoul (1783), Pius VII. (1805), Mme. Ré- 
camier, Bailly, Louvre, Paris; Napoleon 
crossing the Alps (1805), Coronation of Na- 
poleon and Josephine (1808), distributing 
Eagles at the Champ de Mars (1810), por- 
trait of Barére (1790, unfinished), do. of 
Pius VIL (replica of Louvre picture), Ver- 
sailles Museum; Belisarius asking Alms 
(1780, original of Louvre picture), Lille 
Museum ; Philoctetes in Island of Lemnos, 
Cherbourg Museum; Death of Joseph Barra, 
Avignon Museum ; portrait of Comtesse Dil- 
lon, Amiens Museum ; portrait of Alphonse 
Leroy, do. of M. de Joubert, and 3 studies, 
Montpellier Museum; Death of Cleonice 
(sketch), Nantes Museum ; Ugolino, Valence 
Museum ; portrait of Mme. Vigée Le Brun, 
Rouen Museum ; portrait of Mlle. Joly, Com- 
edie Frangaise ; Courtship of Antiochus and 
Stratonice (1774), Ecole des B. Arts; St. 
Roch interceding with the Virgin for the 
Plague-Stricken (1779), Marseilles Hospital ; 
Grief of Andromache over Death of Hector 
(1783, presentation picture to Academy); 
Death of Socrates (1787), M. de Trudaine ; 
Louis XVI. entering Hall of Constituent 
Assembly (1790); Death of Michel Lepel- 
letier ; portrait of Mlle. Lepelletier ; Death 
of Marat, belongs. to David’s grandson; 


P aviy 


ROME 


Sappho and a Faun, in Russia; portrait of 
Napoleon I, Warwick Castle; Death of 
Milo, National Gallery, Dublin; Rape of 


Lucrece (last work).—J. L. David, Le Pein. 
tre Louis David (Paris, 1880); Ch. Blane, 
Ecole francaise; Dohme, 3; Chesneau, 
Peinture francaise (1883); Hamerton, 
French Painters ; Gaz. des B. Arts (1859), 
1, 1382; (1860), vii. 301; (1880), xxi. 572; 
Living Age, lv. 708; xc. 728; Meyer, 
Gesch., 53. 

DAVIS, HENRY WILLIAM BANKS, 
born at Finchley, Aug. ine 
26, 1833. Landscape 
painter, pupil of Roy- 
al Academy, where he 
exhibited his Rough 
Pasturage in 1861. 
Has lived at Boulogne 
and made manysketch- 
es on the French coast. - 
Elected an A.R.A. in 
1873, and R.A. in 1877. \ 
Several of his works have been engraved. 
Works: Strayed Herd (1865); Spring Plough- 
ing (1866); Dewy Eve (1870); Moonrise, Pre- 
torium at Neufchatel (1871); A Panic (1872); 
Summer Afternoon (1874); In Picardy (1876); 
Rustling Leaves, After Sundown (1877); The 
Lowing Herd winds slowly o’er the Lea, 
Midday Shelter (1878); Midsummer Night, 
Wanderers, Picardy Sheep (1879); Family 
Affection, Returning to the Fold (1880); 
Mother and Son, Evening Star, Noon (1881); 
In Rossshire, Sea and Land Waves, Showers 
in June (1882); Ben Eay, Gathering the 
Flock, Kinlochewe (1883) ; Done Work 
(1885). 

DAWANT, ALBERT PIERRE, born in 
Paris; contemporary. History painter, 
pupil of J. P. Laurens. Medals: 3d class, 
1880 ; 2d class, 1885. Works: St. Thomas 
i Becket (1879) ; Henry IV., of Germany, 
before Pope Gregory VII., Merwing at St. 
Martin’s Tomb (1880); Last Moments of 
Charles II. of Spain (1881); Burial of an 
Invalide (1882); Salute to the Invalides 
(1883) ; Saint Vincent (1884) ; The Bark of 
St. Julian the Hospitaller (1885). 

DAWE, GEORGE, born in London, Feb. 
8, 1781, died there, October 15, 1829. Son 


377 


DAWSON 


and pupil of Philip Dawe, engraver (died 
about 1780), student in 1794 at Royal Acad- 
emy, of which elected A.R.A. in 1809, and 
R.A. in 1814. Painted at first historical 
subjects, but most noted for his portraits. 
He painted for the Duke of Kent officers 
distinguished in the Battle of Waterloo. In 
1819 went to Russia at invitation of the Em- 
peror, to paint officers prominent in wars of 
Napoleon, and in nine years made 400 por- 
traits, now in the Hermitage. Princess 
Charlotte, Dr. Samuel Parr, National Por- 
trait Gallery.—Redgrave ; Arnold, Library 
of Fine Arts (1831); Ch. Blane, Ecole an- 
glaise ; Sandby, i. 345. 


Rainbow at Sea.—Art Journal (1879), 48; 
Portfolio (1883), 127. 
DEATH, BAY OF. See Starvation Cove. 


DEATH ON THE PALE HORSE, Ben- — 


jamin West, Pennsylvania Academy, Phila- 
delphia ; canvas, H. 14 ft. 10 in. x 25 ft. 2 in. 
Scene from Revelation vi. In centre, Death, 
armed with irresistible darts, rides the pale 


horse which, unbridled, rushes onward, 


trampling down all ages and conditions, fol- 
lowed closely by the monstrous progeny of 
hell; on the right, the rider on the white 
horse armed with the bow, the rider on the 


red horse with the sword, and behind them | 


the rider on the black horse with the bal- 


Death on the Pale Horse, Benjamin West, Pennsylvania Academy, Philadelphia. 


DAWSON, HENRY, born at Hull in 1811, 
died at Chiswick, Dec. 13, 1878. His father 
removed during his infancy to Nottingham, 


where the lad worked in a lace factory until | 


twenty-four years old, when he devoted him- 
self to landscape painting. In 1849 he re- 
moved to London, but laboured many years 
before his genius won recognition. He 
earned as much during the last six years of 
his life as in all his previous career. In 
1875 his Wooden Walls sold for nearly 
£1,500, and in 1876 his Pool from London 
Bridge for £1,400. Other works : Sherwood 
Oaks, Nottingham from Wilford Hill, Dur- 
ham Cathedral (1876); London at Sunset, 


ances ; on the left, the conflict of men with 
the beasts of the forest. Painted in 1817; 
bought, at the sale of the painter’s pictures 
(1829), and taken to America. Engraved in 
outline by Normand.—Réveil (Hamilton), iv. 
286. 

DEATH, TRIUMPH OF, fresco, Campo 
Santo, Pisa, formerly attributed to Andrea 
Orcagna, now assigned by C.& C. to a painter 
of the Sienese school, perhaps Pietro Loren- 
zetti; and by Milanesi to Bernardo Daddi. 
Foreground, in three groups. To left, the 
warning: Three kings on horseback, with 
attendants, check their horses before three 
open coffins containing the mouldering re- 


378 


DEATH 


mains of dead kings; one of the riders (por- 
trait of Andrea Uguccione della Fagegiuola) 
holds his nose, while his horse starts back- 
wards. To right, the coming doom : Knights 
and ladies seated in a bower singing and 
playing upon musical instruments, while the 
Angel of Death with scythe descends upon 
them ; one of the nobles is Castruccio Cas- 
tracani, Lord of Lucca. In centre, Death 
and his victims: the great of the earth lie 
in heaps on oneside, and on the other the poor 
and needy are calling for release from their 
sufferings. In the sky are angels with the 
souls of the blessed, and devils carrying off 
the damned. The upper corner of the fres- 


co to the left represents the Monks of the 
Thebaid, one reading, another milking a 
goat, and another, St. Macarius, holding a 
scroll. A rocky country, hermit huts, and 
aroad leading up from that on which the 
three kings are travelling. Painted about 
1377.—Vasari, ed. Mil., i. 468, 597; C. & C., 
1. 445 ; Burckhardt, 496. 

DEATH AND THE WOODCUTTER 
(Mort et le Bacheron), Jean Frangois Millet, 
Laurent Richard Collection, Paris. Illustra- 
tion of La Fontaine’s fable. Scene — the 
edge of a wood, with hill, trees, and rocks in 
background. The old woodcutter, falling 
under the weight of his load of fagots, calls 


on Death to relieve him from his troubles ; 
but trembles with fright as Death, shrouded 
in white drapery like an apparition, with a 
winged hourglass in one hand and a scythe 
over his shoulder, seizes him with his bony 
hand. Painted in 1859; refused at Salon, 
but exhibited at Exposition Universelle, 
1867.—Gaz. des B. Arts (1859), ii. 362; Sen- 
sier, Vie, 192. 

DEBACQ, ALEXANDRE, born in Paris, 
Aug. 12, 1804, died there, Oct. 2, 1850. 
History, genre, and portrait painter, pupil 
of Gros. Works: Joan of Are in Prison 
(1831); Mary Stuart’s Departure from France 
(1833) ; Death of Sculptor Jean Goujon ; 


5 ™ 
Gti= Ny oes 
b R 3 J 
= Ny" C , | ‘a 
= SS ice 1». GAG 
% a x 
=)! ‘ 
‘ p fsa) \ Ml ( 
i > tes 
‘ Nie Nes 7 34 
iN SA 
i ~ Qty AY . 
4, Aas |\We 4 i = 
. oo \ _ 
ZA yi fi ) A, 
ZZ aN 
yo i} 


Bernard Palissy destroying his Furniture to 
fire Vases ; Two paintings in Versailles Mu- 
seum. 

DEBAT-PONSAN, EDOUARD BER- 
NARD, born in Toulouse ; contemporary. 
Genre and portrait painter, pupil of Caba- 
nel; won 2d grand prix in 1872. Medals: 
2d class, 1874 ; L. of Honour, 1881. Works: 
First Morning (1874); Respect of St. Louis 
for the Dead (1879); A Door of the Louvre 
on St. Bartholomew’s Day (1880); A Massage 
in the Harem (1883); Portraits (1884); Por- 
trait of M. Gaillard (1885). 

DEBAY, AUGUSTE HYACINTHE, born 
at Nantes, April 2, 1804, died in Paris, 


379 


DEBELLE 


March 24, 1865. History and genre painter, 
pupil of Gros ; won the second prize at the 
Ecole des Beaux Arts in 1822, and the grand 
prize in 1824; went to Italy, and returned 
from Rome in 1830. Medals: 3d class, 1819; 
1st class, 1831; L. of Honour, 1861. Works: 
Agisthus recognizing the Body of Clytem- 
nestra (1824); Lucretia in the Forum of 
Collatia (1831); Enlistment of Volunteers in 
1792, Palais Royal, Paris; The King meeting 
a Wounded Soldier (1835), Interview on 
Field of the Cloth of Gold in 1520 (1837), 
Entry of Knights of St. John into Viterbe in 
1527 (1842), General Joubert regaining Pla- 
teau of Rivoli, Versailles Museum ; Episode 
in 1793 at Nantes (1851), Nantes Museum ; 
Philoctetes on Isle of Lemnos, Angers Mu- 
seum.—Bellier de la Chavignerie, 1. 366. 

DEBELLE, ALEXANDRE (JOSEPH 
MICHEL FRANCOIS), born at Voreppe 
(Isére), Dec. 21, 1805. History painter, 
pupil of Gros. Appointed conservator of 
the Grenoble Museum in 1853. Has also 
made designs and lithographs for books. 
L. of Honour, 1868. Works: The Emperor 
at Grenoble, March 7, 1815 (1840), Grenoble; 
The Emperor entering the Tuileries, March 
23, 1815 (1841), Princess Mathilde ; Christ 
and Magdalen (1843), Church of Versoud ; 
Abdication of Humbert IL. (1847), bought 
by city of Grenoble ; Moses and Elias (a 
fresco), St. Louis en Ile, Paris, 1845.—La- 
rousse. 

DEBUCOURT, LOUIS PHILIBERT, 
born in Paris, baptized Feb. 138, 1755, died 
at Belleville, Sept. 22, 1832. French school; 
genre painter, pupil of Vien ; especially 
attracted by the Flemish Petty Masters ; 
painted scenes from life of middle and lower 
classes with a humorous touch and _har- 
monious colouring. Works: Charitable 
Gentleman, Rural Instruction, Village Judge, 
Dreaded Consultation (1781); Scene in the 
Halle, Charlatan, Two Fétes, Interior of 
Flemish Household (1783); Feigned Ca- 
resses, Human Trait of Louis XVI. (1785) ; 
Consultation, The Travellers, Blind Man’s 
Buff, Hermit distributing Chaplets among 


Young Girls (1810); Physician Consulted by 
Young Woman, Village Féte (1814); Day 


after Village Wedding (1824).—Gaz. des B. 


Arts (1866), xx. 193 ; Goncourt, L’Art du, 
xviii. Siécle, 235. 

DECAISNE, HENRI, born in Brussels, 
Jan. 27, 1799, died in Paris, Oct. 17, 1852. 


History, genre, and portrait painter, pupil — 


in Brussels of P. J. C. Francois and of 
David ; studied then in Paris under Giro- 
det and Gros, obtained the great prize in 


1827, and a medal in 1828; visited Holland — 
in 1830, studying the old masters, and set- — 


tled in Paris, where he won great reputa- 
tion as an excellent portrait painter in the 
manner of Lawrence. Order of Leopold in 
1839; L. of Honour, 1842. Works: Indian 
Family in Exile, Pariah and Brahmin, Mar- 
garet of Valois saving Life of a Protestant 
(1827) ; Blind Milton dictating Paradise Lost 
(1828); Sick Father, Sick Husband, Charles 
I. taking Farewell of his Children (1829); 
Cromwell and his Daughter (1830); Last Mo- 


ments of Louis XIII, Louis XIV. and de La — 


Vallisre (1831); Fenella dancing before 
Charles II. (1832) ; Anne Boleyn’s Farewell 
of her Daughter, Mlle. de Montpensier writ- 
ing her Memoirs, Queen Elizabeth and Amy 
Robsart (1833) ; Henri de Lorraine at Chateau 
d’Eu, Descent from Cross (1835); Hagar in 
the Desert (1836), Brussels Museum ; Mater 
Dolorosa, Guardian Angel (1836); Fran- 
cis L in Madrid, Henrietta of England re- 
ceived at the Louvre by Louis XIV. 
(1837); Entry of Charles VII. into Rouen 
(1838), Versailles Museum; Belgium re- 
warding her Great Men (1839), St. Augus- 
tine’s, Brussels; Charity (1839), Hamburg 
Gallery; Giotto Guarding Sheep (18389); 
Adoration of Shepherds (1841); Francesca 
da Rimini ; Institution of Order of St. John 
(1842), Conquest of Marrah (1844), Ver- 
sailles Gallery ; Four Evangelists, Education 
of Christ (1844), St. Paul’s, Paris ; Maternal 
Happiness (1846); Fortune-Teller (1847) ; 
Boniface de Montferrat elected Leader of 
Fourth Crusade, Last Visit of Raphael to 


his Studio (1849); Chancellor of Hospital 


380 


DECAMPS 


during St. Bartholomew’s Night (1850) ; 
Jane Shore, The Dauphin in Prison of the 
Temple (1852); Portraits of Duke of Or- 
- léans and Princess Clementine (1831), Pa- 
lazzo Royal; King and Queen of Belgium 
(1834); Mlle. de Montpensier (1834), Pa- 


vi ee Deca 


lazzo Royal; Lamartine (1839).—Biog. nat. 
de Belgique, iv. 860; Immerzeel, i. 169; 
Kramm, ii. 324; Larousse, vi. 209. 
DECAMPS, ALEXANDRE GABRIEL, 
born in Paris, 
March 3, 1803, 
died at Fon- 
tainebleau, 
Aug. 22, 1860. 
History, land- 
scape, and 
genre painter ; 
pupil of Abel 
de Pujol, David, 
and Ingres. He 
freed himself 
early from classical principles of style and 
imitation of the antique, and formed him- 
self through the study of Nature, and his 
name was soon counted with those of Ingres, 
Delacroix, and Delaroche as a leader of the 
modern romantic French school. In 1827 he 
accompanied the marine painter Garneray 
to Greece, Constantinople, and Asia Minor, 
and conceived a lasting predilection for 
Oriental subjects, which he treated with 
consummate skill and power. Works: Sol- 
dier of the Vizier’s Guard (1827); Turkish 
Patrol in Smyrna (1831), Turkish Execution 
(1839), Miraculous Draught of Fishes (1855), 
and others, Sir R. Wallace, London; Turk- 
ish Children near a Fountain (1833); Body 
Guard on Road from Smyrna to Magnesia 
(1834, Maison sale, 1868, 80,000 fr.), Re- 
becca at Well (1848), Bertrand and Raton, 
Due d’Aumale, Chantilly ; Defeat of the 
Cimbri by Marius (1834), Fowls and Ducks, 
Cottier Collection ; Reading Firman at 


| 


House of Village Agha, Women Bathing 
(1834), M. Formé ; Samson, Joseph sold by 
his Brethren (1839), Child playing with 
Lizard, The Ford, Dr. L. Véron; Finding 
of Moses (1837), Joseph Face ; Punishment 
of the Hooks, Village Street cs Papal States 
(1839); Turkish Children coming out of 
School (1841, Lehon sale, Paris, 1861, 
34,000 fr.); Towing Horses (1842), The 
Caravan, Louvre, Paris; Siege of Clermont 
(1842); Life of Samson (9 designs, 1845); 
Turkish School, Shepherd’s Return, Sou- 
venir of Turkey in Asia (1846), Huntsman 
and Dogs at Fault, Fodor Museum, Amster- 
dam; Heron, The Desert (1849); Turkish 
Cavalry crossing Ford, Flight into Egypt, 
Greek Pirates (1850); Rebecca and Eliezer 
(1851), Baron Royer; Monkey Painter, 
Hunting with Falcon, Hunters at the Meet, 
late Duc de Morny; Don Quixote and 
Sancho Panza, Baron G. de Rothschild; 
Turkish Coffee-House, Comte Lariboissiére; 
Spaniards playing Cards, M. Jules Delon; 
Children playing with Turtle, Donkeys, M. 
Paturle ; Interior of Farm-House, Comte T. 
du Chitel; Farmyard, Baron Corvisart ; 
Turkish Children playing with Turtles, M. 
Cuvillier-Fleury ; Tow-Horses, M. Ravenaz; 
Village in Italy, Tiger and Elephant, M. 
Gaillard pére ; Donkey and Learned Dogs, 
Beggar counting Receipts, M. Albert ; Turk- 
ish Butcher, Italian Peasant, The Grand- 
mother, Ball Players, M. Gaillard fils; Ken- 
nel, Interior of a Yard, Baron Michel; Sou- 
venir of Turkey in Asia, Albanians, Gypsies, 
Turkish Coffee-House, Improviser, M. Henri 
Didier-Goédon ; Hunter in the Marsh, 
M. Bonnet; Halt of Arab Cavalry, Dogs, 
Marquis of Harcourt; Monkeys, Large 
Turkish Bazaar, Lord Henry Seymour; 
Monkey Bakers, Monkey Pork-Butchers, M. 
Joseph Fau; Interior of a Courtyard in 
Italy (Pillet sale, 1881, 36,800 fr.); Sunset at 
Fécamp (Everard sale, 1872, 18,000 fr.); Vil- 
lage Street (Dagnan sale, 1881, 16,300 fr.); 
Suburbs of Smyrna (Narischkine sale, 1883, 
36,100 fr.); Street of Italian Village (do., 
48,000 fr.). Works in United States: Night. 


381 


DECKER 


Watch at Smyrna, Miss C. L. Wolfe, New 
York; Italian Washerwomen, A. Belmont, 
New York; Dog, J. H. Stebbins, New York ; 
Good Samaritan, Fishermen’s Huts, B. Wall, 
Providence ; Calais Fisherman, Erwin Davis, 
New York; Playing with Pussy in Bed, Fal- 
coners, D. O. Mills, New York; Italian Family, 
Bashi-Bazouk, W. H. Vanderbilt, New York ; 
The Suicide, W. T. Walters, Baltimore ; De- 
tachment of Cavalry, Landscape, Prayer in 
Desert, The Prodigal, Old Mill at Waterloo, 
A.E. Borie Collection, Philadelphia.—Burty, 
Life, etc.; Chesneau, Peinture frangaise 
(Paris, 1883); Ch. Blanc, Ecole francaise ; 
Moreau, Decamps et son Ciuvre (Paris, 
1869); Gaz. des B. Arts (1862), vii. 97; Ham- 
erton, French Painters; Perrier, Etudes, 
127 ; Meyer, Gesch., 255, 750. 

DECKER (Dekker), CORNELIS GER- 
RITSZ, born about 1600, died in Haarlem, 
buried March 23, 1678. Dutch school ; land- 
scape painter, pupil of Solomon Ruysdael ; 
registered in Haarlem guild in 1643. His 
pictures sometimes approach Ruysdael, but 
he was not skilful in atmospheric effects, 
and his tones are heavy. A. van de Velde 
and Adrian van Ostade sometimes supplied 
the figures in his pictures. Works: Two 
landscapes, Louvre ; Rural Dwelling, with 
trees and a canal, Rotterdam Museum ; Halt 
at the Inn (1642), Berlin Museum ; Peasant 
Cottage, figures by Ostade, Old Pinakothek, 
Munich ; two landscapes, Haussmann Col- 
lection, Hanover; wood landscape (1666), 
Copenhagen Gallery; Edge of a Wood, 
Metropolitan Museum, New York. By J. 
Decker (flourished 1640-60), otherwise un- 
known, A Smithy (signed and dated 1644), 


‘ae Decker 


64.2 


in the Berlin Museum.— Kugler (Crowe), ii. 

AT79. ; 
DECLARATION OF INDEPENDENCE, 

John Trumbull, rotunda of Capitol, Washing- 


Continental Congress signing the Declara- 
tion of Independence in Independence Hall, 
Philadelphia, in 1776. John Hancock sits 


at a table, on which rests the Declaration ; 4 


near him, standing, are Jefferson, Adams, 
Franklin, Sherman, and Livingston, the 
committee who had reported the draft of 


the instrument ; seated in chairs around the — i 


room are the other members of the Congress. 
Painted in 1817-24 for $8,000; original 
study in Yale College Gallery. Engraved 
on back of $100 United States national bank 
note. : 


SEPH), born at Méteren (Nord), Nov. 22, 
1828. Genre painter, pupil of Léon Cogniet ; 
won 2d prix de Rome in 1855. Medals in 
1866 and 1868; 3d class, 1873. Works: 
Ceesar on the Vessel (1855) ; Eva on Uncle 
Tom’s Knees (1857) ; Baron, Cossack (1859, 
horses of Imperial stud) ; Woman Bathing 


at Capri (1863); Torture of Queen Brune- — 
haut, Ballet Girl Resting (1864); Christ — 


blessing Little Children (1865) ; Huntress, 
Two Friends (1866); Lavandara (1867) ; 
The Ordeal (1868) ; End of Carnival at Rome 
(1869) ; Little Charmer (1870) ; Confidence, 
The Ring (1873); Candy, Idling, Kittens 
(1874); Pastorella, Ave Maria, Friend of the 
Little Birds (1875); A Trappist Monk,Charm- 
ing Little Girl (1876) ; Little Girl Studying 
(1877) ; Cornelia (1878) ; Mater Dolorosa 
(1879) ; Hops (1880); Hare caught in a 
Trap (1881) ; Fishing for Eels, Spoiled Girl 
(1882) ; A Good Hunt (1883); Small Fish 
will grow Large (1884); The Trappist, Primi- 
tive Hunting (1885). 
States: At the Fountain, Miss C. L. Wolfe, 
New York; Little Bird-Charmer, D. T. 
Buzby, Baltimore ; Violin Girl, A. J. Antelo, 
Philadelphia. 

DEDREUX. See Dreux. 

DEELEN, DIRK VAN, born at Heusden 
about 1607, died at Arnemuyden, Zeeland, 


DE CONINCK, PIERRE (LOUIS JO- 


Works in the United — 


May 16, 1673. Dutch school ; architecture — 


painter ; said to be a pupil of Frans Hals, 


which is very doubtful ; visited Italy about 
ton; canvas, H. 12 ft.x18 ft. The Second | 1631, lived temporarily at Haarlem, Delft, — 


382 


DEFAUX 


and Antwerp, and settled later in Arnemuy- 
den, where he became burgomaster. His 
pictures, in which Van Herp, Palamedes, 
_ Stevens, and Wouwerman supplied the fig- 
ures, are distinguished for their fine lineal 
and aerial perspective. Works: Colonnade 
with Christ and Adulteress (1627), Entrance 
to Palace (1667), Hall with Festive Assem- 
bly, Hermitage, St. Petersburg ; Court with 
Ball Players (1628), Louvre ; Interior, do. 
with Duke Alva judging the Netherlands, 
Harrach Gallery, Vienna; Festive Assembly 
(1631), Stockholm Museum ; St. Peter’s in 
Rome (1632), Augsburg Gallery ; Courtyard 
of Castle (1635), Interior of Gothic Church, 
Brunswick Museum ; Concert-Room (1636), 
Rotterdam Museum; Interior of Castle 
(1638), two others, Lille Museum ; Conver- 
sation in the Street (1636), Copenhagen Gal- 
lery ; Garden-Palace (1640), Splendid Build- 
ing with Colonnade, Vienna Museum; Portico 
of a Palace (1642), Brussels Museum; Court- 
‘yard of Palace (1647), Berlin Museum; Hall 
in the Binnenhof (1647), National Museum, 
Amsterdam ; Interior of Italian Church 
(1648), Rothan Gallery, Paris; Allegory of 
Poetry and Painting (1668), Antwerp Mu- 
seum ; Interior (1625), Fitzwilliam Museum, 
Cambridge; Palatial Buildings in Renais- 
sance Style, National Gallery, London.— 
Allgem. d. Biogr., v. 19; Bode, Studien, 
214; Riegel, Beitrige, 11. 432; Zeitschr. f. 
Dy, a, 1k 0, 

DEFAUX, ALEXANDRE, born at Bercy, 
Paris, Sept. 27, 1826. Landscape painter, 
pupil of Corot. His works have been more 
admired by the critics than by the general 
public. Medals: 3d class, 1874; 2d class, 
1875 ; L. of Honour, 1881. Works: View 
at Caen, Abandoned Race-Course at Ivry 
(1859); View at St. Maur, Coast of Gravelle 
(1863) ; Plateau of Belle-Croix (1864) ; En- 
virons of Méréville (1865) ; Dead Nature, 
Environs of Caen (1867); Marsh of Donville 
(1868) ; Evening in Spring-Time (1869) 
The River Yerres (1870) ; Fine Winter Day 
in Bas-Meudon (1872); The Loire after a 


Flood (1873); Birch-Trees at Fontainebleau | 


(1874) ; Spring-Time in the Woods (1875) ; 
The Loing during a Snow-Storm (1876) ; 
From Honfleur to Pennedepic, Gravel-Pit at 
Fontainebleau (1877) ; Spring Morning in 
Cernay (1878); Forest of Fontainebleau 
(1879) ; Morning at Chateau-Landon, Har- 
bour of Pont-Aven (1880), Luxembourg Mu- 
seum; The Loing, Island of Grande-Jatte 
(1881); Road at Montigny, View from Mont- 
martre (1882) ; Old Birches at the Pigeon 
Pond in Fontainebleau, Montigny-sur-Loing 
(1883) ; Cherry Trees in Blossom, Low Tide 
in Normandy (1884) ; Pastime of a Flock of 
Geese, After the Storm (1885). 
DEFREGGER, FRANZ VON, born at 
Stronach, Tyrol, 
April 30, 18365. 
Genre painter, pu- 
pul at the Munich 
Academy under An- 
schiitz, then studied 
for eighteen months 
in Paris, spent two 
years in the Tyrol, 
and in 1867 entered 
Piloty’s school at 
Munich, where he has resided since 1871. 
Medal, Paris, 83d Class, 1878. Honorary 
member of the Munich, Vienna, and Berlin 
Academies; ennobled in 1883. Works: 
Forester’s Last Return (1867), The Young 
Poachers, Speckbacher and his Son (1869), 
Ferdinandeum, Innsbruck; Wrestling Match 
(1870); Ball on the Alp (1871); Surprised 
Poachers (1871); The Two Brothers (1872); 
The Prize-Horse (1873); The Beggar Sing- 
ers (1873); Madonna (1873); The Arriére- 
Ban (1874), Zither Player, Vienna Museum ; 
The Bitten Goose (1875); Return of the Vic- 
tors (1876), National Gallery, Berlin ; Say- 
ing Grace, Leipsic Museum ; Farewell of the 
Alpine Herd-Keeper, Dresden Gallery ; An- 
dreas Hofer’s last Walk, Kénigsberg Mu- 
seum ; Andreas Hofer in the Palace at Inns- 


;| bruck (1879); The Smith of Kochel (1881), 


New Pinakothek, Munich ; The Love-Letter 
(1882); On the Dancing Floor (1882); The 
Fashionable Tyrolese (1883), National Gal- 


383 


DEGER 


lery, Berlin; On Furlough (1884). Works 
in United States: Head of Girl, 8S. A. Coale, 
St. Louis ; Prize-Horse, E. D. Morgan, New 
York ; Italian Singing Beggars, J. T. Martin, 
Brooklyn ; Tourists in Tyrol, W. H. Vander- 
bilt, New York ; The New Brother, Samuel 
Hawk Collection, New York. At Narischkine 
sale (1883) The Dance sold for 48,000 fr.— 
Brockhaus, iv. 945; Miiller, 12 ; Meyer, Con. 
Lex., xvii. 555; Graph. K., iv. 17; Ilustr. 
Zeitg. (1873), 11. 361; (1875), ii. 255; (1882), 
i. 497 ; N. illustr. Zeitg. (1880), 1.6; (1883), 
i. 74; Land und Meer (1874), i. 36, 274; 
Kunst-Chronik, vi. 6; xviii. 403 ; xix. 317, 
Pecht, ii. 27 ; Zeitschr. f. b. K., vii. 100, 116 ; 
465 ; xvi. 50; xvii. 844; xviii. 403 ; xix. 180; 
vill. (Mittheilungen, 1.58); xii. (Mitth., v. 52). 
DEGER, ERNST, born at Bockenem, Han- 
over, April 15, 1809, died at Dtisseldorf, Jan. 
27, 1885. History painter, pupil in 1828 
of the Berlin Academy under Wach, and in 
1829 of the Diisseldorf Academy under 
Schadow. In Rome in 1837-41 he prepared 
himself to paint the frescos in the St. Apol- 
linaris chapel at Remagen, which he executed 
conjointly with Ittenbach, and Andreas and 
Karl Miller, in 1843-51. He then decorated 
the chapel at Castle Stolzenfels, near Co- 
blentz, for Frederick William IY. of Prussia, 
and in 1869 became professor at the Diissel- 
dorf Academy, Member of Berlin and Munich 
Academies. Works: Pieta (1830); Bearing 
the Cross (1832); Madonna (1833); Annun- 
ciation (1834); Resurrection (1835); Virgin 
adoring Christ (1836); Madonna Enthroned 
(1837), St. Andrew’s chapel, Diisseldorf; Sev- 
eral other Madonnas, Redeemer with Mary 
and John Baptist, and Seven Scenes from 
Life of Christ (1841-51), St. Apollinaris 
chapel, Remagen ; St. Catherine (1842); St. 
Magdalen (1843); St. Joseph with Infant 
Christ (1844); Holy Virgin, Resurrection, 
Maximilianeum, Munich ; Twelve Scenes il- 
lustrating Redemption of Mankind, Castle 
Stolzenfels; Adam and Eve (1853), Raczynski 
Gallery, Berlin.—Brockhaus, iv. 948 ; Férs- 
ter, v. 379 ; Wolfg. Miller, Diisseldf. K., 46 ; 
Reber-Pecht, ii. 151; Wiegmann, 60, 131. 


DEGUSTATION (Tasting), Gerard Ter- 
burg, formerly in Narischkine Gallery, St. 
Petersburg. A lady, in a yellow satin cor- 
set, black velvet pelerin, and gray skirt, 
seated beside a table, on which are an ink- 
stand, pen, and paper, is tasting wine from 
a Venice glass held in her left hand ; in her 
right she holds a white pot with a tin cover, 
which rests upon her knee ; in back of the 
room, a bed with red curtains. Sale of 
Count Perregaux (1841), 8,000 fr.; Delessert 
sale, (1869) ; Narischkine sale, Paris (1883), 
51,050 fr.—Smith, ix. 537. 

DEHODENCQ, (EDME ALEXIS) AL- 
FRED, born in Paris, April 23, 1822. Genre 
and history painter, pupil of Léon Cogniet ; 
has travelled much in Spain and North Af- 
rica, whence he takes many of his subjects. 
Medals: 3d class, 1846 and 1853; medal, 
1865; L. of Honour, 1870. Works: Saint 
Cecilia (1844); In Doubt (1845); St. Stephen 
led to Torture (1846); Visitation (1847); 
Christ in the Tomb, Camoens (1848); Vir- 
ginia found Dead upon the Shore (1849), 
ordered by State; Bull Fight in Spain 
(1850), formerly in Luxembourg Museum ; 
Gypsy Men and Women returning from a 
Festival in Andalusia (1853); Jewish Con- 
cert at the House of a Morocco Cadi (1855); 
Execution of a Jewess in Morocco, Married 
Jewess of Tangiers (1861); Columbus at the 
Convent of Rabida (1864); The Good Vent- 
ure, Jewish Festival in Morocco (1865); The 
Pasha’s Justice (1866); Ruth and Naomi, 
Punishing Thieves in Morocco (1867); Ar- 
rest of Charlotte Corday (1868); King Boab- 
dil’s Farewell to Granada (1869); Jewish 
Festival in Tangiers (1870); October Morn- 
ing in Luxembourg (1872); Othello (1873); 
Negro Dance in Tangiers, Arab Children 
playing with a Turtle (1874); The Reader 
(1875); Christ raising the Daughter of Jai- 
rus (1876); Morocco Story-Teller (1877); 
Bacchus (1878); The Married Jewess, De- 
parture of Mobiles in July, 1870 (1879); The 
Pasha’s Sons, Arrest of a Jew in Tangiers 
(1880) ;Morocco Prisoners, Morning Meal ona 
Farm, Going to Work (1881); Towing (1883). 


384 


DEIG 


DEIG (Taig), SEBASTIAN, German 
school, 16th century, 1516-1544. A crude 
imitator of Diirer and Schaufelin, whose 
pictures may be seen in Nuremberg, Schleiss- 
heim, and the Town Hall of Nordlingen.— 
Nagler, Mon., v. 69; W. & W., ii. 403. 

DEIKER, JOHANNES CHRISTIAN, 
born at Wetzlar, Rhenish Prussia, May 27, 
1822. Painter of animals and hunts ; pupil 
of his father Friedrich, a portrait painter, 
then of the Hanau Academy, and at the 
Stidel Institute in Frankfort under Jakob 
Becker; entered the service of Prince 
Salms, on whose estates he made the forest 
and its animal life his special study, and 
then went for a year to Antwerp. In 1868 
he settled in Diisseldorf. Works: Stags in 
Calving Time, Dog with Hares, Dog at the 
Chase, Pointer and Partridges.—Miiller, 
129. 

DEIKER, KARL FRIEDRICH, born at 
Wetzlar, April 3, 1836. Painter of animals 
and hunts, brother of Johannes; pupil of 
the Hanau Academy, and from 1858 in Carls- 
ruhe of Schirmer ; settled in 1864 in Diissel- 
dorf. Works: Wounded Stag (1858); Two 
Boar-Hunts (1859); Fighting Stags (1861); 
Stag-Hunt, Boar-Hunt (1870), Cologne Mu- 
seum ; Deer in the Mountains (1876); Con- 
test for the Herd (1879).—Illustr. Zeitg. 
(1872), i. 67; (1873), i. 99; (1877), i. 267; 
(1880), ii. 481; Miller, 129 ; Land und Meer 
(1878), ii. 751. 

DEITERS, HEINRICH, born at Minster, 
Westphalia, Sept. 5, 1840. Landscape 
painter, pupil of the Diisseldorf Academy 
under Alex. Michelis, and much influenced 
by Andreas Achenbach ; studied from nat- 
ure in Belgium, Holland, France, and 
Southern Germany, but especially in West- 
phalia. Works: After the Rain (1865); 
Westphalian Village, Dordrecht, Wood In- 
terior, River Plain; View in Amsterdam, 
Gravelotte, April Weather, Before the 
Storm (1868); Mill, Evening Landscape.— 
Miller, 130. 

DEJANIRA, RAPE OF, Guido Reni, 
Louvre, Paris; canvas, H. 8 ft.7 in. x 6 ft. 6 in. 


Hercules having entrusted Dejanira to the 
Centaur Nessus to be carried across the River 
Evenus, slays him with a poisoned arrow 
when he perceives that he is about to carry 
her off. Same history as Hercules and Ache- 
lous of Guido. Engraved by G. Rousselet ; 
Bervic.—Landon, Musée, i. Pl. 385; Villot, 
Cat. Louvre. 

DEJUINNE, FRANCOIS LOUIS, born 
in Paris in 1786, died there in 1844. His- 
tory painter, pupil of Girodet; won grand 
prix de Rome in 1817, and then studied at 
the French Academy in Rome. LL. of Hon- 
our, 1824. Works: Death of Hector; As- 
sumption, St.Genevieve, Notre Dame de Lo- 
rette ; Christ healing the Blind, St. Vincent 
de Paul; St. Fiacre declining the Crown, 
St. Sulpice ; Four Seasons, Trianon Palace ; 
Baptism of Clovis, Versailles Museum ; 
St. Aignan invoking Heaven for besieged 
Orleans ; Michelangelo's House, 'Tasso’s 
House, Girodet painting Galatea, Inez at 
the Feet of Childe Harold. 

DEKKER. See Decker. 

DELABORDE, HENRI, Vicomte, born 
at Rennes, May 2, 1811. History painter, 
pupil of Delaroche; in 1855 was made con- 
servator of the Imperial Cabinet of Engray- 
ings, afterwards its vice-director ; member 
of Academy, 1868, perpetual secretary since 
1874; distinguished as a writer upon art. 
Medals: 2d class, 1837; 1st class, 1847 ; L. 
of Honour, 1860; Officer, 1870. Works: Ha- 
gar in the Desert (1836), Dijon, Museum ; 
Conversion of St. Augustine (1837); Death of 
St. Monica (1838); Conquest of Damietta 
(1841), Knights of St. John of Jerusalem 
(1845), Versailles Museum; Passion of 
Christ (1848), Amiens Cathedral.—Meyer, 
Con. Lex., xviii. 229 ; Miiller, 130. 

DELACROIX, AUGUSTE, born at Bou- 
logne-sur-Mer, Jan. 27,1809, died there, Noyv., 
1868. Genre and marine painter. Paralyzed 
during several years before his death, he 
painted his last works with his left hand. 
Medals: 3d class, 1839 ; 2d class, 1841 ; Ist 
class, 1846. Works: Coast of Boulogne, 
Interior of Boulogne Harbour (1835), De- 


385 


DELACROIX 


parture of Fishermen (1839), Negro Dan- 
cers at Tangiers (1859), Pilgrimage to 
Notre Dame de Boulogne (1866), Boulogne 
Museum ; Expectation, Smugglers (1841); 
Benediction of the Sea (1844, 1863); Wo- 
men surprised by the Tide, Talk at the 
Fountain, Washerwomen (1846); Well of 
Casbah at Tangiers (1852); Departure for 
Fishing, Return (1855); Halt of Caravan 
(1864).—Bellier de la Chavignerie, i. 380. 
DELACROIX, (FERDINAND VICTOR) 
sth EUGENE, born at 
Charanton St. Mau- 
rice, near Paris, April 
26, 1799, died in Paris, 
ip ft. Aug. 13, 1863, His- 
4 tory painter, pupil of 
Guérin. Exhibited in 
1822 his Dante and 
Virgil, which won him 
reputation, and he 
might have received 
high academic honours if he had not, with 
Géricault and others, diverged from the 
prevalent classicism of the school of David 
and joined the romantic school, of which he 
became one of the leaders. He travelled in 
Spain and North Africa in 1831, and be- 
tween that and 1855 executed important 
public commissions, decorating the Cham- 
ber of Deputies, the Library of the Luxem- 
bourg, the Church of St. Sulpice, and gal- 
leries in the Louvre and the Hétel de Ville. 
L. of Honour, 1831; Officer, 1846 ; Com- 
mander, 1855 ; Member of Institute, 1857. 
Works : Dante and Virgil (1822), Massacre 
of Scio (1824), Twenty-eighth of July, 1830 
(1830), Algerian Women (1834), Portrait of 
himself (1837), Jewish Wedding in Morocco 
(1841), Shipwreck of Don Juan, Louvre; 
Christ in Gethsemane, St. Paul, Paris; 
Portrait of Marshal de Tourville (1835), 
Battle of Taillebourg (1837), Entry of Cru- 
saders into Constantinople (1841), Versailles 
Museum ; Death of Sardanapalus; Death of 
Marino Fualiero (1827), Faust and Mephis- 
topheles, Sir Richard Wallace, London ; 
Death of Charles the Bold (1834), Nancy 


tian (1836) ; 


Museum ; Justice of Trajan (1840), Rouen 
Museum; Marcus Aurelius (1845), Lyons 
Mase: Medea (1838), Lille Museum; 
Head of Actzon, Melun Museum; St. 
George, Grenoble Museum; Two Foscari 
(1855), Duc d’Aumale, Chantilly ; Martyr- 
dom of St. Stephen (1853), Arras Museum ; 
The Halt (1837), Nantes Museum ; Sultan of 
Morocco leaving his Palace (1845), Toulouse 
Museum; Arab Musicians (1848), Tours 
Museum ; Portrait of Himself (1829), Charge 
of Arab Cavalry (1832), Algerian Women at 
Home, Daniel in Lions’ Den (1853), Michel- 
angelo in his Studio (1853), Mulatto Wo- 
man, Montpellier Museum; Prisoner of 
Chillon (1835); Martyrdom of St. Sebas- 
Convulsionnaires of Tangiers 
(1838); Hamlet with Skull of Yorick (1839); 
Romeo’s Farewell (1846) ; Christ Crucified 
(1847); Death of Valentine (1848); Apollo 
killing the Python (1849). Works in United 
States: Marguerite and Mephistopheles, 
W. Rockefeller, New York ; Iconoclasts, B. 
Wall, Providence ; Clotilda delivering the 
Martyrs, H. Probasco, Cincinnati; Greek 
Soldier, A. J. Antelo, Philadelphia; Sultan 
of Morocco, W. H. Vanderbilt, New York ; 
Meeting of Ruth’s Kinsman and Boaz, 
Lion Hunt, Capture of Gétz von Berlich- 
ingen, Groom and Mare, A. E. Borie Col- 
lection, Philadelphia; The Combat, W. 


EVG. DELAC ROIL 


T. Walters, Baltimore. — Moreau, Dela- 
croix et son Ciuvre (Paris, 1873); Burty, 
Maitres, 51; Leclercq, Caractéres, 83; Ch. 
Blane, Artistes d. m. Temps, 23; Perrier, 
Etudes, 36; Chesneau, Peinture francaise 
(1883); Gaz. des B. Arts (1865), xix. 144; 
(1873), vu. 560 ; International Rev. (1880), 
vill. 857; Nation (1880), xxx. 388; L’Art 
(1882), xxviii, 61; (1883), xxxii. 76, 94 ; 
Meyer, Gesch., 201; Robaut (Chesneau), 
L’Ciuvre complet de E. D. (Paris, 1885). 
DELACROIX, HENRI EUGENE, born 
at Solesmes (Nord); contemporary. His- 
tory painter, pupil of Cabanel. Medal, 3d 


886 


DELAHAYE 


class, 1876. Works: Dante and Virgil 
(1875), Cambrai Museum ; Rebellious An- 
gels (1876), bought by State; Prometheus 
- (1877); Christ in the Tomb (1878); The Lit- 
tle Giggler (1879); The Angelus (1880); Or- 
_pheus torn by the Bacchantes (1881); Death 
of a Hog, Autumn Night (1883); The Laun- 
dress (1884), 

DELAHAYE, ERNEST JEAN, born in 
France ; contemporary. Genre and portrait 
painter, pupil of Gérdme. Medals: 3d 
class, 1882 ; 2d class, 1884. Works: Lav- 
atory (1881); Shoeing, Farriery (1882); Jew- 
ish Easter (1883) ; Gas-Works at Courcelles 
(1884); Farriery, Portrait of Henri Maret 
(1885). 

DELANCE, PAUL LOUIS, born in 
Paris; contemporary. Genre and portrait 
painter, pupil of Géréme. Medal, 3d 
class, 1881. Works: Faith, Hope, and 
Charity (1878); The three Ages (1879) ; 
Louis XVI. and Parmentier (1880); Return 
of the Flag (1881); Revery (1882); Depart- 
ure (1883); Upon the Stockade, Portrait 
(1884); Nurses’ Bench at Orphanage of St. 
Valéry (1885). 

DELANOY, HIPPOLYTE PIERRE, 
born in Glasgow, Scotland, of French pa- 
rents; contemporary. Genre painter, pu- 
pil of Jobbé-Duval, F. Barrias, Bonnat, and 
Vollon. Medal, 3d class, 1879. Works: 
Pride and Impudence, Gilliflowers and 
Thoughts (1877); Booty, Breakfast on the 
the Turf (1878); At Don Quixote’s, The 
Koran (1879); Preparation for Breakfast, 
Peaches and Flowers (1880); Breakfast 
(1881); A Corner in Willem Kalf’s Studio, 
The Gospel (1882); To the Glory of a Gen- 
eral of the Past or the Future, India and 
the Hast (1883); Luncheon in the Park, 
Things of the Past (1884); With Jacques 
d’Anville, In Time of Chivalry (1885). 

DELAROCHE, PAUL (Hippolyte), born 
in Paris, July 17, 1797, died there, Nov. 
4, 1856. History and portrait painter. Be- 
gan by painting landscapes under Watelet, 
which he gave up for history after entering 
the studio of Baron Gros. First attracted 


attention by his picture of Joash saved from 
death by Jehosheba (1822). Received the 
great gold medal 
in 1824, became 
Knight of the 
Legion of Hon- 
our in 1828, Offi- 
cer in 1834, Mem- 
ber of the Insti- 
tute in 1832, and 
Professor at the 
Academy in 1833. 
In the following 
year he went to 
Italy, and on his return showed the ideal- 
izing effect upon his style of his study of the 
old masters in the famous Hemicycle which 
he painted at the Ecole des Beaux Arts. At 
the time of his second visit to Italy in 1844 
he was made a member of the Academy of 
St. Luke, as he had previously been of the 
academies of Amsterdam and St. Peters- 
burg. Works: Naphtali in the Desert 
(1819); Joash saved from death by Jehosh- 
eba (1822), Death of Queen Elizabeth (1827), 
Children of Edward IYV., or Princes in the 
Tower (1830), Louvre, Paris ; Filippo Lippi 
(1822); St. Vincent de Paul preaching be- 
fore Louis XIII. (1823); Joan of Arc in Pris- 
on, St. Sebastian (1824); Children caught in 
Storm (1825); Death of Agostino Carracci 
(1826); Massacre of St. Bartholomew (1826), 
Konigsberg Museum; Flora Macdonald 
(1826); Death of Duranti (1827), painted for 
Conseil d’Etat; Capture of the Trocadero 
(1827); Richelieu on the Rhéne (1829), 
Death of Mazarin (1830), Sir R. Wallace, 
London ; Cromwell beside Coffin of Charles 
I. (1831), Nimes Museum; Execution of Lady 
Jane Grey (1834), H. W. Eaton, M.P.; Gal- 
ileo (1834); Assassination of Duc de Guise 
(1835), Duc d’Aumale, Chantilly ; Strafford 
going to Execution (1835), Duke of Suther- 
land; Charles I. insulted by Cromwell’s 
Soldiers (1836), Bridgewater Gallery ; Na- 
poleon in his Study (1837), Countess of 
Sandwich ; Portrait of Peter the Great 
(1888) ; Hemicycle (1838-41), Ecole des 


387 


DELAUNAY 


Beaux Arts, Paris; Pico della Mirandola 
taught by his Mother (1842), Nantes Muse- 
um; Pilgrims at Rome (1842); Mother's 
Joys, Herodias (1843); portrait of Gregory 


XVI. (1844), Charlemagne crossing the Alps | 


(1847), Versailles Museum ; Napoleon at 
Fontainebleau (1845), Leipsic Museum ; 
The Swing (1845), Nantes Museum ; Napo- 
leon crossing the Alps (1848); Marie An- 
toinette leaving the Tribunal (1851); Napo- 
leon at St. Helena (1852), Queen Victoria ; 
Last Prayer of Children of Edward IV. 
(1852); Mater Dolorosa (1852), Liége Mu- 
seum; Moses exposed on Nile, Entombment 
(1853) ; Last Communion of Mary Stuart 
(1854); Beatrice Cenci going to Execution, 
Christ in the Garden (Norzy sale, 1860, 8,000 
fr.), Christian Martyr (1855); Girondists, Re- 
turn from Golgotha, Virgin inContemplation, 
Virgin with Holy Women (1856). Portraits: 
Napoleon, Duke of Portland’s Collection ; 
Due d’Angouléme; Mlle. Sontag; Duc de 
Noailles ; de Remusat ; Prince Adam Czar- 
toryski; de Salvandy; Thiers; Guizot; 
Changarnier; Count Molé; Pourtales. Works 
in United States: Study of Head, T. A. 
Havemeyer, New York; Christ the Con- 
soler, A. Belmont, New York; Temptation 
of Christ, T. Corse, New York ; Gethsemane, 
H. V. Newcomb, New York ; Nymph of the 
Fountain, D. O. Mills, New York; The 
Hemicycle (1853), W. 'T. Walters, Baltimore. 
—Goddé, Géuvre de P. D., 86 photos. (Paris, 
1868); Hamerton, French Painters; Ch. 
Blanc, Ecole francaise ; Runtz Rees, P. De- 
laroche ; Larousse, vi. 335 ; Meyer, Gesch., 
475; Perrier, Etudes, 50; Rossetti, 101; 
Gaz. des’ B. Arts (1860), v. 325; vi. 319; 
(1861), x. 57. 

DELAUNAY, JULES ELIE, born at 
Nantes, June 12, 1828. Genre painter; pu- 
pil of Hipp. Flandrin, L. Laroutte, and of 
the Ecole des Beaux Arts, where he won the 
2d grand prix in 1835, and the grand prix 
de Rome in 1856. Has decorated several 
churches. Medals: 3d class, 1859; 2d class, 
1863, 1865, and 1867; L. of Honour, 1867. 
Works : Christ driving the Money Changers 


from the Temple (1853); Return of Tobias 
(1856); The Salt-makers of Guérande (1858) ; 
The Flute Lesson (1859); Brutus’s Oath 
(Tours Museum); Death of the Nymph Hes- 


peria (1863) ; 
De Carenray. 


Communion 
of the Apostles 

(1865), Plague in Rome (1869), Death of 
Nessus (1870); Diana (1872), Luxembourg. 
He has painted only portraits since 1872. 

DELAVAL, PIERRE LOUIS, born in 
Paris, April 27, 1790, diedin 1870. History 
painter, pupil of Girodet; and only a barren 
imitator of his master. Medal: 2d class, 
1817. Works: St. Clotilda urging Clovis 
to embrace Christianity (1817), St. Louis, 
Versailles; Minerva protecting the Arts 
(1819), Grand Trianon; Psyche abandoned 
by Cupid, Grenoble Museum; The Virgin 
(1827), St. Cecilia, Cathedral of Meaux; St. 
Louis with the Oriflamme. 

DELEN. See Deelen. 

DELESTRE, JEAN BAPTISTE, born in 


Lyons, Jan. 10, 1800, died in Paris in Janu- 


ary, 1871. Genre painter, pupil of Gros; 
was also a writer on art, and excelled rather 
as a teacher than a painter. He took an 
active part in the Revolution of 1848. Works: 
Carmelite; Murder of Clodimir’s Children; 
Jesus and the Heavy-Laden; Peter’s Re- 
pentance; Justice; Sappho at Leucadia.— 
Larousse. 

DELFT, WILLEM JACOBSZEN, born 
in 1580 (1592), died in 1638. Dutch school; 
third son and pupil of Jacob Willemszen, 
and pupil of Mierevelt, whose daughter he 
married. He devoted himself later entirely 
to engraving. There is an excellent female 
portrait by him (1632) in the Stadel Gallery, 
Frankfort. His son, Jacob Willemszen (1619- 
1661), was a portrait painter.— Kugler 
(Crowe), i. 257. 

DELFT (Delff), JACOB WILLEMSZEN, 
died in Delft in 1601. Dutch school; por- 
trait painter; among whose works are A 
Reconciliation between Esau and Jacob 
(1584), in the Vienna Museum, an Archer's 
Repast in the City Hall, Delft (1592), and a 


388 


q 
3 


DELLI 


portrait of the artist with his wife and three 
sons. His eldest son, Cornelis Jacobzen, 
painted still life, and his second son, Rochus 
_Jacobzen, portraits. — Kugler (Crowe), i. 
257. 

DELLI, DELLO (Daniello), Cavaliere, 
born in Florence about 1404, died after 1464. 
Florentine school. In 1424, Niccold Delli’s 
father, having surrendered the fortress of 
Montecerro in the Tuscan Romagna to the 
Duke of Milan, was sentenced to death, and 
fled to Siena, where his son made himself 
known by casting a brazen figure to strike 
the hours for the clock-tower of the palace. 
About 1427 Dello went to Venice, and then 
to Seville, Spain, where he spent many years, 
became rich, and was made Cavaliere, a title 
which was recognized in Florence in 1447. 
Before returning to Spain in the following 
year he is said to have painted twenty-four 
frescos from the book of Genesis in the so- 
called “green” cloister of S. M. Novella, 
considerable vestiges of which still remain. 
These frescos, on the south and west walls, 
are like those by Paolo Uccello upon the 
other sides of the cloister, painted in shades 
of green hatched with white lines. Milanesi 
recognizes two different painters in the fres- 
cos attributed to Dello, and Crowe and 
Cavalcaselle doubt if they can have been 
painted by him after his return from Spain 
in 1446, as they appear to be the work of an 
unformed hand. He characterizes the con- 
ceptions as “petty,” and the execution as 
rude and hasty. The Shem in the fresco of 
the Drunkenness of Noah by Paolo Uccello 
is said by Vasari to be the portrait of Dello. 
The same writer says that Dello painted 
furniture and marriage-chests like other ar- 
tists of his time. The glazed terra-cotta 
bas-relief of the Coronation of the Virgin 
over the doorway of the church of 8. Egidio, 
Florence, which Vasari attributes to Dello, 
is by Bicci di Lorenzo.—Vasari, Ed. Le Mon., 
iii? 46, 51; ed. Mil, ii. 147; C. & C., Italy, 
uu. 299 ; Burckhardt, 494 ; Milanesi, Archivio, 
Storico Italiano, xii. 183 ; Dispensa 33, A., 
1860. 


DELMONT (Del Monte). 
Deodaat van der. 

DELOBBE, (FRANQOIS) ALFRED, born 
in Paris, Oct. 13, 1835. Genre painter, 
pupil of A. Lucas and of Bouguereau. Med- 
als: 3d class, 1874 ; 2d class, 1875. Works: 
Country Music, Return from the Fields of 
St. Briac, Marie Jeannic (1874) ; Pyramus 
and Thisbe, A Daughter of the Fields (1875); 
Virgin and Child (1876); Springtime (1877); 
Lobster-Fishing, The Last Arrow (1878) ; 
The Big Sister (1879); The Bath, In the 
Prairie *(1880) ; The Family in the Fields, 
Gypsy Girl (1881) ; Romance in a Village, 


A. Delobbe.. 1875 


Advances 
ee we 

ee (1884); Two Mermaids, Reverie 
(1885); Italian Girl, John Hoey, New York. 

DELORME, (PIERRE CLAUDE) FRAN- 
COIS, born in Paris, July 28, 1788, died 
there, Nov. 8, 1859. Genre painter, pupil of 
Girodet, to whose style he confined himself. 
Medal, 2d class, 1840; honorary mention, 
1845; L. of Honour, 1841. Works: Death 
of Abel (1810); Hero and Leander (1814); 
Raising of Jairus’s Daughter (1817), St. Roch, 
Paris; Christ Reappearing (1819) ; Nétre 
Dame, Paris; Cephalus carried off by Aurora 
(1822), Luxembourg; Sappho reciting an 
Ode to Phaon (1833); Eve plucking the For- 
bidden Fruit (1834); Magdalen at the Sep- 
ulchre (1835); Adam and Eve after the 
Fall (1839); Holy Family in Egypt (1850). 
—Tarousse ; Gaz. des B. Arts (1859), iv. 
254. 

DELORT, CHARLES EDOUARD, born 
at Nimes, Feb. 4, 1814. Genre painter, 
pupil of Gleyre and of Géréme. Medals: 
3d class, 1875 ; 2d class, 1882.. Works: Con- 
fidence, Starting for the Chase (1873); Ma- 
rauders (1874); Embarkment of Manon Les- 
cant (1875); After Breakfast (1876); Hallali 
in a Market (1878); A Poacher, Admonition 
(1880); Capture of the Dutch Fleet in 1794 
(1882); Return from the Review (1884), Mr. 
Kncedler, New York. 


See Mont, 


389 


DELPY 


DELPY, CAMILLE HIPPOLYTEH, born 
at Joigny (Youne); contemporary. Land- 
scape painter, pupil of Corot and Daubigny. 
Medal, 3d class, 1884. Works: Solitude 
(1878); Snow Landscape, Banks of the Seine 
(1879); Autumn Harvest (1880); Entrance 
to Dordrecht, Moonrise (1881); Dawn of 
Day, Twilight (1882); Quay of Fish Market 
at Dieppe (1883); Bank of the Morin at Es- 
bly (1884); Before the Storm, Poltaise (1885). 

DE LUCE, PERCIVAL, born in New 
York, Feb. 24, 1847. Portrait and genre 
painter, pupil of the Antwerp Academy 
under Van Lerius, of Portaels in Brussels, 


1810 ; won grand prize for history over Da- 
vid’s Sabines. Acquired in 1818, with En- 
dymion and Burial of Attala, for 50,000 fr. 
—Réveil, i. 22. 

By Michelangelo, Sistine Chapel, Rome ; 
fresco on ceiling. 

By Nicolas Poussin, Louvre, Paris; canvas, 
H. 3 ft. 10 in. x 5 ft. 3in. Called also L’Hiver 
(Winter). The Deluge, with the Ark floating 
on the waters; in middle-ground, where the 
current forms a cascade, a half-submerged 
vessel with figures, one of them with raised 
hands, imploring for mercy; in second plane 
at left, the serpent tempter gliding toward 

the crevices of a rock ; at 
right, a mass of rock and 
persons trying to reach 
it in a boat; below, two 
men, one on horseback, 
struggling with the waves. 
Painted, with Paradise, 
Ruth and Boaz, and Re- 
turn of Spies, in 1660-64, 
for Duc de Richelieu; in 
. Chateau Meudon in 1709- 
10. Engraved by J. 
Audran, P. Laurent, Eich- 
ler, Devilliers, Bovinet.— 


= AULA 


o s SF 


Filhol, x. Pl. 610; Lan- 
don, ii. Pl. 28; Villot, 


2  — 


——— 


ee 


— ——- ain 
eee 


2 


Cat. Louvre. 


ne ee a aoe: — 


Deluge, Nicolas Poussin, Louvre, Paris. 


and of Bonnat in Paris. Exhibits at the 
National Academy. Studio in New York. 
Works: Portrait, C. H. Hudson; Children 
Gleaning (1879) ; Winter (1880) ; Thankful 
Blossoms (1881); Reverie (1882); Powder for 
the Besieged—Wheeling, Va., 1777 (1883); 
Knitting Lesson (1884); Buttercups and 
Daisies, The Forbidden Book (1885). 
DELUGE, Girodet de Roussy, Louvre; 
canvas, H. 14 ft. 1 in. x 11 ft. 2in. A man, 
bearing his father upon his shoulders and 
holding by the right hand his wife, to 
whom two children are clinging, endeavours 
to gain the summit of a rock by means of a 
tree which breaks in his grasp. Painted in 


By Joseph M. W. Tur- 
ner, National Gallery, 
London ; canvas, H. 4 ft. 9 in. x7 ft. 9 in. 
Illustration of Milton’s Paradise Lost. Roy- 
al Academy, 1813 ; Turner Collection. En- 
eraved by J. B. Quilley.—Cat. Nat. Gal. 

DEMARNE. See Jarne. 

DEMAREST, GUILLAUME ALBERT, 
born in Rouen, France ; contemporary. Pu- 
pil of J. P. Laurens and J. Lavée. Medal, 
3d class, 1883. Works : Grandmother, Rape 
of Psyche (1879); Voyage in Extremis (1880); 
At the Cemetery (1883); Evening (1884); At 
the Studio (1885). 

DEMETRIUS, painter and lecturer, sur- 
named Graphicus, date unknown. (Diog, 
Laer. V. Dem. xi.) Perhaps identical with 


390 


DEMETRIUS 


one mentioned by Diodorus (Excerpt. Vat. 
xxxi. 534), who lived in Rome about 163 
B.c.; or with the Alexandrian painter of 
the name (Val. Max., v. 1. 1.)—R.-Rochette, 
Schorn, 271. 

DEMETRIUS, ST., Tintoretto, S. Felice, 
Venice ; canvas. St. Demetrius armed and 
accompanied by a person of the Casa Ghigi. 
—Zanotto, 364. 

DEMONT, ADRIEN LOUIS, born at 
Douai (Nord), France; contemporary. Land- 
scape painter, pupil of E. Breton. Medals: 
3d class, 1879; 2d class, 1882. Works: 
Canal, Village Square (1878); August (1879); 
Brickfield, La Scarpe near Douai (1880) ; 
The Landes of Finistérre (1881), A Mill 
(1882), Luxembourg Museum; Morning in 
March (1882); Brook, Hyacinths in Bloom 
(1883) ; Jardin du Vieux (1884); Kitchen 
Garden in Springtime, Approche du gros 
Temps (1885). 

DEMONT-BRETON, Mme. VIRGINIE 
ELODIE, born at Courriéres (Pas-de-Calais); 
contemporary. Landscape and genre painter, 
pupil of Jules Breton. Medals: 3d class, 
1881; 2d class, 1888. Works: The Little 
Spring, April Flowers (1880); Woman bath- 
ing her Children (1881); The First Step, 

The Family (1882) ; Flat Shore (1883), Lux- 
embourg Museum ; The Calm, Little Birds’- 
Nester (1884); Wolves of the Sea (1885). 

DEMOPHILUS, painter, of Himera, Si- 
cily, about 424 B.c. Supposed to have been 
the master of Zeuxis.—Pliny, xxxv. 36 [61]. 

DENIS, SIMON, surnamed den Schelen 
(the squint-eyed), born at Antwerp, baptized 
April 14, 1755, died in Naples, Jan. 1, 1813. 
Flemish school ; landscape painter, pupil of 
H. J. Antonissen, went to Italy in 1786, and 
afterwards settled in Naples, where he was 
made first painter to the king. Works : View 
of Arpino, Louvre, Paris; Cascade (1793), 
Landscape, Sunset, Antwerp Museum.— 
Biog. nat. de Belgique, v. 595. 

DENNELLE, DOMINIQUE ALEXAN- 
DRE, born in Paris in 1818, died in 
Florence, Italy, Dec. 4, 1879. History 
painter in fresco; went to Germany when 


seventeen to study ceramics, then, studied 
monumental painting under Delaroche and 
Duban, and decorative painting in Italy. L. 
of Honour, 1859; Officer, 1874. Works: 
Paintings in St. Germain des Prés, St. Clo- 
tilde, St. Trinité, St. Sulpice, St. Eustache, 
Paris; Church of the Abbey, St. Denis; St. 
Paul’s, Nimes; others in Lyons, Beauvais, 
Carcassone, and Orléans.—Miiller, 132. 
DENNER, BALTHASAR, born at Altona, 
Noy. 15, 1685, died in Rostock, April 14, 
1749. German school; portrait painter ; 
studied under obscure masters in Altona and 
Dantzic, then, in 1707, at the Berlin Acad- 
emy. In1709 he began his career by paint- 
ing the portraits of Duke Christian Augustus 
of Holstein and his sister. At the age of 
twenty-four his name was famous, and he 
received numberless orders from princes and 
nobles of Northern Germany, Denmark, Hol- 
land, and England, which he executed with 
microscopic accuracy and infinite elaboration 
of detail. Works: Portraits of Duke Chris- 
tian August of Holstein and Sister (1709); 
Group of Holstein Princes and Courtiers 
(1712); Princess of Schleswig (1713); Prince 
Mentschikoff (1713); Several Portraits of 
King Frederic IV. of Denmark (1712 and 
1717); Duchess of Brunswick (1720); Duke 
and Duchess of Blankenburg (1729); King 
Augustus IT. of Poland (1729); Christian VI. 
of Denmark 
(1734); Duke 
Christian Lud- eyyrer 
wig of Mecklen- 
burgand Family ty 
1735); Prin- oo: 
cess Sophie 
Charlotte of 
Denmark (1736); Peter III. of Russia as 
Duke of Holstein 
D eres Frederic of Hol- 
stein-Gottorp 
Cologne (1744); Duke of Holstein (1747); 
Duchess of Brunswick (1747); Artist’s por- 


(1740); Adolphus 
cee 
1726 f 
(1743); Elector of 
trait, six others, Kunsthalle, Hamburg ; Por- 


391 


DENNEULIN 


traits of Old and Middle-Aged Man, Berlin 
Museum ; Seven Portraits, Brunswick Mu- 
seum; Six Portraits and St. Jerome, Dres- 
den Gallery ; Portraits of Old Man and Old 
Woman, Old Pinakothek, Munich; do. (1721 
and 1726), Vienna Museum ; Portrait of Old 
Woman (1724), Louvre ; Others in Stutt- 
gart, Copenhagen, Stockholm, Christiania, 
and Florence Galleries.—Allgem. d. Biogr., 
v. 54; Ch. Blane, Ecole allemande ; Kugler 
(Crowe), 11. 563 ; Larousse, vi. 441. 

DENNEULIN, JULES, born at Lille 
(Nord) in 1835. Genre painter, pupil of 
Colas. Medal, 3d class, 1875. -~Works: 
Triste Recette (1875); Rest of Hunters 
(1876); Wedding Dinner (1877); Reading 
the Will, Difficult Passage (1878); favaan: 
Quartette, Mayor’s Burial (1879); Benedic- 
tion, Rural Postman (1880); Return from a 
Meeting, A Shower (1881); Worm Gather- 
ers (1882); Return from Fishing (1883); In- 
terrupted Wedding, A Reprobate (1884); 
False Arrest, Fisherman (1885). 

DENTONE, IL, born in Bologna in 1576, 
died there, Dec. 18, 1632. Bolognese 
school. Real name Girolamo Curti; called 
Dentone from the deformity of his teeth. 
Pupil of Lionello Spada and C. Baglioni. 
Worked as a common weaver until twenty- 
five years old, when he began to study de- 
sign, and soon made himself one of the 
foremost decorative painters of his time. 
Executed works in many palaces and 
churches in Bologna, Parma, and Modena. 
He excelled in chiaroscuro, but could not 
paint figures, and was aided in this depart- 
ment by Massari, Guercino, and Guido.— 
Malvasia, ii. 105; Ch. Blane, Ecole bolo- 
naise. 

DENYS, FRANS, born in Antwerp about 
1610, died after 1655. Flemish school ; ex- 
cellent portrait painter, showing the influ- 
ence of Van Dyck. Free of the guild of 
Antwerp in 1631; left Flanders about 1655. 
Works: Portraits of Pieter van Horne and 
Wife (1637); do. of Andries van Langen- 
berghe and Wife (1635); Portrait of F. P. 
van Broeckhoven (1652), Versailles Museum. 


He is usually confounded with his mediocre 
son Jacques (born 1644), who was master in 
1664 and dean of the guild in 1693 ; two of 
his works in Antwerp Museum.—Biog. nat. 
de Belgique, v. 602; Cat. du Musée d’An- 
vers (1874), 115. 

DEPOSITION FROM THE CROSS. See 
Descent from the Cross. 

DERBY DAY, William P. Frith, National 
Gallery, London; canvas, H. 3 ft. 3 in. x7 
ft. 3in. Scene on the race-course at Ep- 
som, 1856 ; many figures. Royal Academy, 
1858. Bequeathed by Jacob Bell in 1859. 
Engraved by August Blanchard.—Art Jour- 
mal (1865), 194. 

DESBROSSES, JEAN, born in Paris, 
May 28, 1835. Landscape - painter, pupil 
of Ary Scheffer and Chintreuil. Medal, 3d 
class, 1882. Works: In the Mountains 
(1880); Lake of Chambon, The Gorges of 
Chaix (1881); Ascent of the little St. Ber- 
nard, Monistrol d’Allier (1882); Lac d’An- 
necy, Val de Pralognan (1883); Aiguilles de 


Warens at Sallanches, Mont Blanc—Valley - 


of Sallanches (1884); Mont Cervin, Val d’Il- 
lers (1885). 

DESCAMPS, JEAN BAPTISTE, born at 
Dunkirk, Aug. 28, 1706, died at Rouen, July 
14, 1791. French school; history painter, 
pupil of his maternal uncle, Louis Coypel, 
and of Largillicre. Painted for Louis XV. 
several pictures illustrating his coronation 
and his visit to Havre; became member of 
the Academy in 1764; settled in Rouen, 
where he established a school of design, of 
which he was professor and director. Pub- 
lished ‘‘ Vie des Peintres flamands, alle- 
mands, et hollandais ” (1755-63), and ‘ Voy- 
age pittoresque de la Flandre et du Bra- 
bant” (1769). His best known picture, A 
Mother in her Kitchen with Two Children 
(1764), is in the Louvre; Episodes (5) in 
History of Dunkirk, Europe, Asia, Africa, 
America, Museum, Dunkirk ; France restor- 
ing City of Dunkirk, Hotel de Ville, ib.; Ar- 
tist’s portrait, Rouen Museum.—Bellier de 
la Chavignerie, i. 415 ; Michiels, x. 89 ; Vil- 
lot, Cat. Louvre. 


392 


by, 
ti ; 
% 
: 
tt 
= 

a 
4 


DESCENT 


DESCENT FROM THE CROSS (Fr., 
Descente de la Croix ; Ital., Cristo deposto 
della Croce, Descendimento de la Cruz; 
_ Ger., Kreuzabnahme), the taking down from 
the cross of the body of Christ. In the 
older pictures the Virgin is generally repre- 
sented standing, but in some of the later 
ones she has sunk to the earth. The other 
persons represented are Joseph of Arima- 
thea, Nicodemus, Mary Magdalen, St. John 
Evangelist, and sometimes others (John xix. 
38-39). The Deposition from the Cross, 
properly the moment when the body is de- 
posed or laid on the ground, after the De- 
scent from the Cross, is included under this 
title. The lamentation over the deposed 
body is treated under Pietd. 

By Fra Angelico, Florence Academy; wood, 
top in three pinnacles. Two disciples on 
the ladder lower Christ’s body, while two 
others below aid in sustaining it and a fifth 
adores it; at left, six figures, one holding 
crown of thorns and nails; at right, the Vir- 
gin, Mary Magdalen, and other women. 
The pictures in the gables are by Lorenzo 
Monaco. Painted for S. Trinita, Florence. 
Restored in 1841 by Fr. Acciai.—Vasari, ed. 
Mil., ii. 513; OC. & C., Italy, i. 584. 

By Fra Bartolommeo, Pal. Pitti, Florence; 
wood, H. 4 ft. 6 in. x6 ft. 3in. The dead 
Christ sustained by St. John Evangelist and 
the Virgin, at the foot of the cross, while 
the Magdalen embraces his knees. Re- 
moved from convent of Augustinians with- 
out the S. Gallo gate, at time of the siege, 
to S. Jacopo tra’ fossi; thence to Pitti. 
Copy in 8. Domenico, Prato ; pen sketch in 
Uffizi. Engraved by M. Steinla.—Vasari, 
ed. Mil, iv. 197; C. & C., Italy, iii. 471; 
Gal. du Pal. Pitti, I. Pl. 30. 

By Rembrandt, Munich Gallery ; wood, 
H. 2 ft. 10 in. x2 ft. 2 in. The dead body 
of Christ taken down from cross by five 
men ; Mary swooning in the arms of the 
Magdalen. Painted in 1633; sold to Prince 
Frederick of Holland ; passed from Diissel- 
dorf to Munich Gallery; replica (dated 


1634) in Hermitage, St. Petersburg. Etched | 


by Rembrandt. Engraved by Hess.—Mol- 
lett, Rembrandt, 25, 86; Cat. Munich Gal. 

By Rubens, Antwerp Cathedral; wood, H. 
13 ft.x 9 ft. 6in. Nine figures. The body 
of the Saviour is being lowered from the 
cross on a sheet, by two men mounted on 
ladders ; they are aided by Nicodemus on 
one side, and Joseph of Arimathza on the 
other, also on the ladders; below, St. John 
receiving the body in his arms; beside him 
are Mary Magdalen and Salome, kneeling, 
and extending their hands to assist him ; 
beyond, the Virgin, standing. It is evening, 
and the multitude has departed. Engraved 
by L. Vosterman, Val. Green, R. Earlom, 
Claessens. On the interior of the doors 
are: The Visitation (engraved by P. de Jode), 
and The Presentation in the Temple (en- 
eraved by P. Pontius, Holhenmeus, Visscher, 
Val. Green). On the exterior of the doors 
are: St. Christopher (engraved by Eyndhou- 
edts, Van Tiennen); anda Hermit. Painted 
in 1611-14 for chapel of Company of Arque- 
busiers, Antwerp ; carried to Paris, returned 
in 1815 and placed in Nétre Dame.—Smith, 
lL. 3. 

By Andrea del Sarto, Pal. Pitti, Florence; 
wood, H. 7 ft. 10 in. x6 ft. 6 in.; signed. 
The dead Christ supported by St. John 
Evangelist, his hand held by the Virgin; the 
Magdalen and St. Catherine kneeling ; SS. 
Peter and Paul standing; mountainous 
background; in foreground a chalice with 
the Host. Painted in 1523 for S. Pietro a 
Luco in Mugello; bought in 1782 by Grand 
Duke Pietro Leopoldo, who placed it in the 
Tribune of the Uffizi; carried to Paris in 
1799, and returned in 1815 ; Ferdinand III. 
took it to the Pitti, and put the Madonna 
delle Arpie in its place at the Uffizi. En- 
graved by Bettelini; Lasinio; Esslinger ; 
Forster ; Marri.—Vasari, ed. Mil, v. 38; 
Gal. du Pal. Pitti, iii, Pl. 114; Filhol, iii. 
Pl 211; C. & C., Italy, iii. 570; Dohme, 
2iii. 2. 

By Tintoretto, Pal. Pitti, Florence; can- 
vas, H. 3 ft.x3 ft. 11. in. The body of 
Christ, supported by Joseph of Arimatheea, 


393 


‘DESCENT 


on the knees of the Virgin, who falls swoon- | Magonio; Lerouge.—Gal. du Pal. Pitti, iv 
ing into arms of one of the Marys; at right, PL 77; Filhol, x. 681. 


M7, 


=e 


: Descent from the Cross, Rubens, Antwerp Cathedral. 
Nicodemus stands grieving; behind, another| By Daniele da Volterra, S. Trinita de’ 
of the Marys at foot of the cross. Carried ier Rome. The Body of Christ, lowered — 
to Paris; returned in 1815. Engraved by|on a sheet held by three men, is received by 


| 


394 


DESCENT 


Nicodemus; the Virgin, swooning, is sup- 
ported by Mary Magdalen, while the two 
_ other Marys bend over her; beside them, 
_ St. John, standing, with outstretched arms. 
Painted in fresco in 1541, by order of Prin- 
cess Elena d’ Orsini; transferred to canvas 
in 1811 by Camuccini ; re- 
stored by Palmaroli. En- 
graved by G. B. de Caval- 
leriis; G. L. Dame; R. 
van Audenaerde; F. Ras- 
taini; P. Toschi (1837). 
Poussin declared this the 
third picture in the world, 
ranking it next after Raph- 
ael’s Transfiguration and 
Domenichino’s Commun- 
ion of St. Jerome.—YVasari, 
ed. Mil., vii. 52; Grimm, 
Leben Michelangelos, ii. 
394 ; Kugler (Eastlake), 
i, 809; W. & W., ii. 600; 
Nagler, xiii. 118; La- 
rousse, vi. 537; Lanzi, 
Storia pittorica, i. 149. 

By Rogier van der Wey- 
den, Escorial, Spain ; can- 
vas, H. 6 ft. 6 in.x8 ft. 
7 in. The body of Christ 
lowered from the cross by 
Joseph of Arimathza and 
Nicodemus ; St. John and 
one of the Marys sustain 
the swooning Virgin; the 
other Marys wailing. 
Painted for Chapel of Our 
Lady of Victory, St. Peter’s 
Church, Louvain; taken to 
Spain by Queen Mary of 
Hungary. Replicas or cop- 
ies: Madrid Museum (by 
M. Coxcyen) ; 8. Trinidad, Madrid ; Berlin 
Museum ; St. Peter’s, Louvain ; Liverpool 
Institute. — Madrazo ; Museo Espafiol de 
Antiguedades ; Forster, xi. 

Subject treated also by Ludovico Cigoli, 
Pal. Pitti, Florence; Pietro Perugino, ib. ; 
Correggio, Parma Gallery ; Bartolommeo 


Schidone, ib.; Francesco Francia, ib.; 
Sodoma, Siena Gallery; Barthel Bruyn, 
Dresden Gallery ; Alessandro Tiarini, Bolog- 
na Gallery, Brera, Milan ; Rubens, Lille Mu- 
seum, Hermitage, St. Petersburg ; Eustache 
Lesueur, Louvre; Michael Wohlgemuth, 


Descent from the Cross, Daniele da Volterra, S. Trinita de’ Monti, Rome. 


Liverpool Gallery; Filippino Lippi, Florence 
Academy; Cima da Conegliano, Galleria 
Hstense, Modena ; Garofalo, Pal. Borghese, 
Rome, Naples Museum; Luca Giordano, 
Venice Academy; Anton Van Dyck, Ant- 
werp Museum; Peter Pourbus, Bruges 
Academy ; Hans Memling, Hospital of St. 


395 


DESCHAMPS 


John, Bruges, Vienna Museum; Michael 
Wohlgemuth, Munich Gallery; Jean Jou- 
venet, Louvre ; Sebastien Bourdon, ib. ; Ber- 
nard van Orley, Hermitage, St. Petersburg ; 
Sebastian del Piombo, ib.; Adrian van der 
Werff, ib.; Pedro Campana, Seville Cathedral; 
Cornelis Cels, Dominican Church, Antwerp; 
Garofalo, Brera, Milan, Palazzo Borghese, 
Rome, Naples Museum ; Bartolommeo Bar- 
ducci, Madrid Museum; Vincenzo Campi, 
Cremorne Cathedral ; Cosimo Tura, National 
Gallery, London ; and many others. 

DESCHAMPS, LOUIS, born at Montéli- 
mar (Dérme); contemporary. Genre and 
portrait painter, pupil of Cabanel. Medal, 
1877. Works: Poor Little Girl (1877) ; 
Little Winnower defending his Grain (1878); 
Death of Mireille (1879) ; Woman Dream- 
ing, Vincent Wounded (1881) ; Resignation, 
First Step (1882); Happiest of the Three, 
Girl Mother (1883); Spring Day, Research 
for Paternity (1884); The Twins, Alarm 
(1885). 

DESCHWANDEN, PAUL, born at Stanz, 
Unterwalden, Switzerland, 1811; died 1881. 
History painter, studied from 1840 in Italy 
after Raphael, and at once attained success. 
Works: Infant Christ; Jesus in Agony of 
Death; Resurrection; Last Judgment; Faith, 
Love, and Hope ; Holy Family ; Moses and 
John.—Kuhn, Paul von D.; Springer, Gesch., 
312. 

DESCHWANDEN, THEODOR, born at 
Stanz, Switzerland, Feb. 20, 1826, died 
there, Dec. 19, 1861. History painter, pu- 
pil from 1840 of his cousin, Paul D., and 
from 1845 at the Munich Academy ; then 
studied in Antwerp and Brussels, and later 
in Paris after Murillo. In 1858 he visited 
Upper Italy. Works: Struthan von Wink- 
elried ; Arnold von Winkelried taking Fare- 
well of his Family (1860).—Allgem. d. Biogr., 
v. 70. 

DES COUDRES, LUDWIG, born in Cas- 
sel in 1820, died in Carlsruhe, Dec. 23, 
1878. History and genre painter, pupil of 
the Munich Academy in 1840, under Schnorr; 
returned to Cassel, visited Italy in 1844-45, 


studied then in Diisseldorf under Karl Sohn, 
and was appointed, in 1854, professor at the 
art-school in Carlsruhe. Works: Francesca 
da Rimini (1850); Penitent Magdalen (1852); — 
Entombment (1855), Carlsruhe Gallery; 
Adoration of Shepherds (1857), Grand Duke 
of Baden; Repose in Egypt (1858); Holy — 
Women at the Cross (1863), St. Nicholas, — 
Hamburg; Iphigenia (1865), Grand Duke 
of Baden ; Christ Crucified and Magdalen ~ 
(1869); Christ blessing the Penitent Sinners, 
Old Man Reading (1870) ; Domestic Life in 
17th Century (1871) ; Under the Red Cross — 
(1872) ; Psyche and Pan ; Happy Existence. 
—Brockhaus, v. 80; Kunst-Chronik, xiv. | 
259. | 
DESGOFFE, ALEXANDRE, born in Par- | 
is, March 2, 1805, died there, July 31, 1882. — 
Landscape painter, pupil of Ingres; has also 
executed some religious subjects. Decorated — 
for city of Paris the baptismal chapels of S. — 
Nicolas du Chardonnet and of S. Pierre du ~ 
Gros-Caillou. Medals: 3d class, 1842; 2d — 
class, 1843, 1848; 1st class, 1845, 1857; L. 
of Honour, 1857. Works: View near Ar- 
bonne (1834), Argus guarding Jo, Hercules — 
and the Nemean Lion, several views of Na- — 
ples, Roman Campagna, Valley of the Nymph 
Egeria (1837-1842, painted in Italy); Lake 
of Albano, Women Bathing, A Meadow, Med- 
itation, Evening, The Cyclops, Lyons Mu- — 
seum ; Narcissus at the Fountain, given to 
town of Lemur ; Madness of Orestes (1857), 
Luxembourg Museum ; Country at Hyéres, 
View of Provins, Resting, Playing Quoits 
(1849) ; Martyrdom of St. Maurice, Woods ~ 
of Fleury, Environs of Naples (1859); Joseph — 
sold by his Brethren, Fauns Dancing, Sources 
of the Durtin, Road at Montmorency (1861); 
Resurrection of Christ, Souvenir of Naples, — 
Landscape (1863); Gulf of Naples (1867); — 
View near Antibes (1868); Souvenir of Na- — 
ples, Heath near Fontainebleau (1883).—La- 
rousse ; Kunst-Chronik, xvii. 671. 
DESGOFFE, BLAISE ALEXANDRE, 
born in Paris, Jan. 17, 1830. Still-life paint- 
er, pupil of Flandrin, nephew of Alexandre ~ 
D., and a most skilful imitator of near ob- — 


396 


DESHAYS 


jects, his subjects being finished with micro- 
scopic exactness. Medals: 8d class, 1861; 
2d class, 1863. Works: Two Cups of Ori- 
ental Agate (1857); Amethyst Vase (1859), 
Luxembourg Museum ; Agate Vase on an 
Enamelled Pedestal, Onyx Pitcher, Turkish 
Carpet (1859); Crystal Vase, ete., from 
Louvre (1863), Luxembourg Museum; Fruit 
and Jewels (1864); Fruit and Jewels, 
Flowers and Jewels (1868) ; Rock Crys- 
tal engraved, Agate and Enamels (1874) ; 
Saxon Porcelain, etc. (1874), Count Wells 
de la Valette ; Carved Wood, Bronze Head, 
etc. (1874); Crystal Vase with Bust of a 
Roman Emperor, etc., View near Puy de 
Dome (1879); Cross with Crystals, etc., Cup 
attributed to Benvenuto, etc. (1880); Eques- 
trian Statuette with Tapestry (1881); Royal 
Birthday Gift (1882); Enamels with Crystal 
and Grapes, Statuette representing Force, 
_ ete. (1883); Fruits and Jewels, Majolica and 
Flowers (1884); Objects of Ancient Art, Agate 
Vase and Fruits (1885). Works in United 
States : Objects of Art from Louvre, Miss C. 
L. Wolfe, New York ; Objects of Art—Two 
Subjects, W. Rockefeller, New York ; Objects 
of Art, T. R. Butler, New York; Crown of 
Louis XIV., B. Wall, Providence; Crystal 
Cup and Pansies, T. Wigglesworth, Boston ; 
Flowers and Objects of Art, H. B. Hurlbut 
Collection, Cleveland ; Vase of Flowers, OC. 
Crocker, San Francisco ; Art in the Louvre, 
W. B. Bement, Philadelphia ; Articles of 
Vertu, A. J. Drexel, Philadelphia ; Objects 
of Art, J. T. Martin, Brooklyn; Objects of 
Art, D. O. Mills, New York; Still-life, C. P. 
Huntington, New York; Still-life, C. S. 
Smith, New York; Objects of Art, W. H. 
Vanderbilt, New York; Flowers and Vase, 
L. Tuckerman, New York ; Objects of Vertu, 
H. C. Gibson, Philadelphia. — Larousse ; 
Hamerton, Painting in France. | 
DESHAYS, JEAN BAPTISTE, born in 
Rouen in 1729, died in Parisin 1765. French 
school; history painter, first instructed by 
his father, and then in Paris by Boucher, 
whose daughter he married. In Italy he 
was led to imitate Benedetto Castiglione. 


On his return he became a member of the 
Academy in 1758, and painted many good 
altarpieces for churches. Works: Prayer 
of St. Andrew, Flagellation of St. Andrew 
(painted for Cathedral of Rouen and en- 
graved by Ph. Pariseau); Susanna (engraved 
by Nicollet under title of Resistance); Venus 
throwing Flowers on Body of Hector, Mont- 
pellier Museum ; and several in Rouen Mu- 


eG y Desheyes 


seum.—Ch. Blanc, Ecole francaise ; Gaz. des 
B. Arts (1868), xxiv. 258. 


DESPORTES, ALEXANDRE FRAN- 
COIS, born at et 
Champigneul, aor Ley 
Feb. 24, 1661, (CLO 
died in Paris, yg 2S) 
April 15, 1743. Br ky 
French school ; ee Hy 


landscape, ani- 


J —— 4 Zi~ 
mal, and still-life {| 7 ASX 
painter ; pupil of ivy 1 lf » y 
Nicasius Ber- | ; N= \ a) f 
naert, a Flemish AS % 


animal painter in 

Paris, whence, meeting with little success, 
he went to Poland, in 1695, acquired great 
reputation, and painted King Sobieski, the 
queen, and many nobles. On his return to 
France, after Sobieski’s death, he painted 
chiefly hunting pieces. In 1699 he was re- 
ceived into the Academy, of which he was 
made chancellor in 1704 by Louis XIV., 
whom he accompanied on all his hunting 
expeditions. In 1712 spent six months in 
England, where his pictures sold at high 
prices. He continued to enjoy court patron- 
age during the Regency and the reign of 
Louis XV. Works: Portrait of Himself 
(1699), Wolf Hunt (1702), Diana and Blonde 
(dogs of Louis XIV., 1702), portrait of a 
Huntsman (1704), Boar Hunt (1704), Game 
and Vegetables in Kitchen (1707), Game 
guarded by Dogs (1700), do. (1709), Game 


397 


DESTREM 


guarded by Poodle, Game and Flowers 
(1712), do. (1712), Zette (dog of Louis XIV., 
1714), Bonne, Nonne, and Ponne (do.), Folle 
and Mite (do.), Tane (do.), Pompey and 
Florissart (do., 1739), Dog and Partridges 
(1720), and 10 others, Louvre, Paris. Others 
in Grenoble Museum, Hermitage at St. 
Petersburg, and Stockholm, Brunswick, and 
Carlsruhe Galleries. His son, Claude Fran- 
cois (1695-1774), was an animal painter ; 
member of Academy, 1723. Nicolas, nephew 
and pupil (1718-1787), painted animals and 


Des pror lis Vibes 
Des portes 


portraits ; member of Academy, 1757.—Ch. 
Blanc, Ecole francaise ; Villot, Cat. Louvre ; 
Lejeune, Guide, iii. 300. 

DESTREM, CASIMIR, born at Toulouse ; 
contemporary. Landscape painter, pupil 
of Bonnat. Medal: 3d class, 1879. Works: 
St. Roch (1878); Unstitching, Jean Calas 
(1879); Rustic Scene (1880); Midday Rest 
(1881); Pére la Brume (1882); Fishermen 
(1883); Wind Storm, Entry of Village at 
Evening (1884); Close of Day, Entrée de 
Bullier (1885). 

APTISTE) EDOU- 
ARD, born in 
Paris, Oot. 9; 
1848. Genre 
painter, pupil of 
Meissonier; ex- 
hibited at Salon 
in 1868 his Halt 
of Infantry, which 
received much 
praise, and in 1869 
the Rest during 
Drill at Camp St. Maur, which established 
his reputation as one of the most popular 
military painters of the day. Medals: 1869, 
1870 ; 2d class, 1872 ; L. of Honour, 1878 ; 


Officer, 1881. Works : Engagement between 
Imperial Guards and Cossacks in 1814 (1870), 
The Conquerors (1872); Bonaparte in Egypt, 
Opening of the Grand Opera (1878); Cham- 
pigny in December, 1870 (1879); Distribut- 
ing Flags (1881); Evening of Rezonville 
(1884). Works in United States: Saluting 
the Wounded (1877), Samuel Hawk Collec- 
tion, New York ; Cossacks attacked by Royal 
Guard, Cuirassier, Miss C. L. Wolfe, New 
York ; Rifle Practice, Souvenir des Grandes 
Manceuvres, A. Belmont, New York ; Scene 
of Franco-German War, Les Incroyables, 
Forest of St. Germain, J. H. Stebbins, New 
York; French Infantry (monochrome), J. 
H. Warren, Hoosac Falls, New York ; Cos- 
sack of the Don, G. I. Seney, Brooklyn ; 
Sentry, M. Graham, New York ; Vidette, W. 
Rockefeller, New York ; Cavalry Officer, In- 
cident in Franco-Prussian War, J. J. Astor, 
New York ; Autumn Manceuvres, R. C. Taft, 

Providence; Austrian Cavalryman, J. A. 
Brown, Providence ; Prussian Soldiers, G. | 
Whitney, Philadelphia ; Scene in a Cabaret, 
C. H. Clark, Philadelphia ; Shaving in Camp, 
Sapeur, H. R. Bishop, New York ; Les Pro- 
fonds Politiques, J. C. Runkle, New York ; 
Hussar, M. K. Jesup, New York; Aide-de- 
Camp, J. T. Martin, Brooklyn ; Hungarian 


Hussar, Trumpeter, F. Harper, New York; — 


Halt, Calling the Roll, Soldier off Duty, 
Mounted Hussar, C. S. Smith, New York ; 
Study of Horses, F. Rogers, Philadelphia ; 
Les Incroyables, R. L. Cutting, New York ; 
Ready to March (1874), The Picket (1875), 
W. T. Walters, Baltimore; Ambulance Corps, 
Skirmishing near Paris, 1870, W. H. Vander- 
bilt, New York ; Ambulance Corps at Long- 
champs, The Retreat (1873), William Astor, 
New York ; Charge of 9th Regiment of Cui- 
rassiers, Aug. 6, 1870 (1874), H. C. Gibson, 


ENOUAND ta 


Philadelphia ; Prussian Sentinel, A. E. Borie 
Collection, Philadelphia ; Passing Regiment 


(1875), French Cuirassiers bringing in Ba- ~ 


398 


DETOUCHE 


varian Prisoners, Corcoran Gallery, Wash- 
ington.—Gaz. des B. Arts (1874), ix. 419; 
L’Art (1875), ii. 49; (1878), xiv. 29; Clar- 
etie, Peintres, etc. (1884), ii. 249 ; Montro- 
sier, Artistes modernes (Paris, 1883); Zeit- 
schr. f. b. K., xvi. 291. 

DETOUCHE, LAURENT DIDIER, born 
at Reims, July 29,1815. History and genre 
painter, pupil of P. Delaroche and Robert- 
Fleury. Medal: 3d class, 1841. Works: 
Little Lover, Reims Museum ; Mother’s Last 
Wish, St. Paul, Reims Cathedral; Execution 
of Joan of Arc ; Raising of Lazarus (1843), 
Church of Fismes ; Colbert at Dunkirk ; 
Catherine de Medicis with Ruggieri ; Rabe- 
lais’s Quarter of an Hour; Remorse of 
Charles IX. (1854); Death of Coligny ; The 
Alchemist (1865); The Last Valois; Blaise 
Pascal; Jewish Jewel Merchant (1875).— 
Vapereau. 

DETOUCHE, PAUL EMILE, called Des- 
touches, born at Dampierre (Seine-Inféri- 
eure), Dec. 16, 1794, died in Paris in 1874. 
History, genre, and portrait painter, pupil 
of David, Guérin, Gros, and Girodet. Med- 
als: Ist class, 1819, 1827. Chiefly noted 
for genre pictures, such as The Orphan Girl, 
Young Conscript, Wounded Student, Conva- 
lescing, Return to the Old House (1827). 
Other works: Joan of Arc at the Stake ; St. 
Elizabeth among the Poor ; Raising of Laza- 
rus, Cathedral of Vannes; Christ on the 
Mount, St. Victor, Paris; Scheherazade, 
Cherbourg Museum; Expectation of Masked 
Ball, Departure for the City, Nantes Museum. 
—Meyer, Gesch., 175. 

DETTI, CESARE, born in Rome; con- 
temporary. Genre painter, pupil of Acad- 
emy of San Luca, Rome. Studio in Paris. 
Works : Sad Lover, R. G. Dun, New York ; 
The Duet, William Astor, New York ; Guard 
Room, R. C. Taft, Providence ; L’Amour, 
A. Adams, Watertown, Mass.; Gathering 
Flowers, W. B. Bement, Philadelphia ; Rest, 
VYarewell (1877), Naples Exposition; The 
Concert (1884); Arrival of the Newly Mar- 
ried (1885). 

DEUTSCH, NIKOLAUS. See Manuel. 


DEUTSCH, RUDOLF VON, born at Mos- 
cow, October 27, 1835. History and genre 
painter, pupil of Dresden Academy ; visited 
Italy in 1863-66, afterwards Belgium and 
England, and settled in Berlin in 1866. 
Work: Rape of Helen, National Gallery, 
Berlin.—Illustr. Zeitg. (1881), i. 9. 

DEVENTER, JAN FREDERIK VAN, 
born in Brussels, November 27, 1822. Land- 
Scape painter, nephew and pupil in Ghent 
of H. van de Sande Bakhuyzen. Member 
of Amsterdam Academy, 1852. . Medal, The 
Hague, 1857. Works: Evening Landscape 
(1841); Dutch Coast View ; Wooded Land- 
cape with Mill; Dutch Copse and Meadow ; 
River Landscape (1857).—Immerzeel, i. 179; 
Kramm, ii. 335. 

DEVERIA, EUGENE (FRANCOIS MA- 
RIE JOSEPH), born in Paris in 1805, died 
at Pau (Basses-Pyrénées), Feb. 15, 1865. 
History and portrait painter, brother of 
Achille D., pupil of Girodet ; came at once 
into prominence through his Birth of Henry 
IV. In 1836 he became Protestant pastor 
at Pau; but in 1837 painted for the histori- 
cal Museum in Versailles, and ceilings in 
the Louvre, the Palais Royal, and Notre 
Dame de Lorette. Works: Nun defended 
by Grenadier ; Grenadier nursed by Nun; 
Death of Joan of Arc, Angers Museum ; 
Birth of Henry IV. (1827), Louvre ; Battle 
of Marseilles, Conquest of Saverne (1837), 
Versailles Museum ; Unveiling of Statue of 
Henry IV. at Pau (1846); Death of Joanna 
Seymour (1847); The Four Henrys (1857); 
Halt of Spanish Merchants (1859); Recep- 
tion of Columbus by Ferdinand and Isa- 
bella (1861). Portraits of Marshals Brissac 


€. Deweia 183° 


and Crévecceur, Versailles Museum.—Ch. 
Blanc, Artistes de mon Temps, 88; La- 
rousse, vi. 653; Lejeune, Guide, iii. 78; 
L’Art (1883), i., xxxii. 61, 121, 141, 161, 181; 
Meyer, Gesch., 282. 

DEVERIA, (JACQUES JEAN MARIE) 
ACHILLE, born in Paris, Feb. 6, 1810, 


399 


DEVILLY 


died there, Dec. 23, 1857. History painter, 
pupil of Girodet. Made himself known by 
lithograph portraits of singers and actors ; 
later painted religious pictures notable for 
their sweet and somewhat feeble character, 
though not without merit in composition. 
Works: Crucifixion; St. Sebastian; As- 
sumption; Annunciation ; Charity, Faith, 
Love, and Hope ; Descent from the Cross ; 
Torquato Tasso introduced to Elizabeth ; 
Pericles and Aspasia.—Larousse, iv. 6583 ; 
L’Art (1883), xxxii. 61, 121, 141, 161, 181. 

DEVILLY, THEODORE, born in Metz, 
Oct. 28, 1818. Mythology and military 
genre painter, pupil of Marechal and of 
Paul Delaroche ; conservator of the Metz 
Museum, and later of the Nancy Museum. 
Medals: 3d class, 1852, 1857, 1859, 1861. 
Works: Battle of Ras-Satah in Algeria 
(1852) ; Cossack (1853); Bivouac in 1812 
(1857); The Marabout of Sidi-Brahim (1859), 
Bordeaux Museum; Battle of Solferino 
(1861); The Assault, Trumpeter (1863) ; 
Cossacks Shouting (1867); Mazeppa (1870); 
The Wounded at Gravelotte, Farewell of Sol- 
diers to their Officers at Metz (1874); Am- 
phitrite, Bacchante Asleep, The Wounded 
Horse (1875); Captured Horses recovered 
by African Cavalry (1876); Triumph of 
Bacchus (1878). 

DEVIS, ARTHUR WILLIAM, born in 
London, Aug. 10, 1763, died there, Feb. 11, 
1822. History and portrait painter, son and 
pupil of Arthur Devis (1711-1787), a respect- 
able portrait painter ; studied also in schools 
of Royal Academy. Went when twenty years 
old to Kast as draughtsman for EH. India Co., 
returning to England in 1795. He was a 
good painter, but unfortunate. Works: 
Lord Cornwallis receiving Sons of Tippoo 
Sahib as Hostages; Detection of Babing- 
ton’s Conspiracy ; Archbishop Langton 
showing Magna Charta to Barons ; Death of 
Lord Nelson, Greenwich Hospital ; Death of 
Princess Charlotte ; Portrait of Miss O’Neil 
as Belvidera; do. of Lord Nelson ; do. of 
Governor Herbert of Calcutta (1791), Na- 
tional Portrait Gallery, London. His broth- 


er, Thomas Antony Devis, exhibited portraits 
in 1776-89. His uncle, Antony T. Devis 
(1729-1817), was a landscape painter.—Red- 
erave. 

DEVONSHIRE, COUNTESS OF, Anton 
Van Dyck, Duke of Northumberland ; can- 
vas. Christian, Countess of Devonshire, 
standing, seen to knees, with a rose in right 
hand ; background, a curtain with a land- 
scape seen through open door. Engraved 
by P. Lombard. Another portrait, full- 
length, Marquis of. Ailesbury.—Head, 44. 

DEVONSHIRE, DUCHESS OF, Thomas 
Gainsborough, Messrs. Agnew, London ; 


Duchess of Devonshire, Gainsborough, Althorp Park. 


canvas, H. 4 ft. 1lin. x3 ft. 9in. Georgiana, 
Duchess of Devonshire (1757-1806), full- 
length. Royal Academy, 1783; purchased 
by Wynn-Ellis for £63 of Mr. Bently, who 
bought it for £50 of a Mrs. Maginnis ; 
Wynn-Ellis sale (1876), to Messrs. Agnew, 
10,100 gs. Canvas cut from stretcher and 
stolen, night of May 26-27, 1876, from Gal- 


400 


DEVONSHIRE 


lery of New British Institution, 37 Old 
Bond Street, London, and not since heard 
of. Original sketch in grisaille (H. 1 ft. 11 
- in. x 1 ft. 3 in.), Viscount Clifden, Dover 
House; engraved by Graves. Replica of 
Wynn-Ellis picture, Earl Spencer, Althorp 
Park; engraved in mezzo. by unknown. 
There is also a mezzo. of the Wynn-Ellis pict- 
ure, engraved about 1773. A similar pict- 
ture (H. 5 ft. 2 in. x 3 ft. 10 in.), claimed to 
be a Gainesborough, owned by Mr. John 
Foster, who brought it from Australia, was 


Duchess of Devonshire, Sir Joshua Reynolds, Althorp Park. 


exhibited at Byron Gallery, London, in 1877. 
—Brock-Arnold, 41, 55 ; Leslie & Taylor, ii. 
215 ; Gower, Hist. Gals. of England ; Notes 
and Queries (1876), 416; London Times, 
May 8, 27, 1876, July 30, 1877; London 
Tlus. News, May 20, 1876. 
DEVONSHIRE, DUCHESS OF, Sir 
Joshua Reynolds, Earl Spencer, Althorp 
Park ; canvas. Georgiana, Duchess of Dev- 


| onshire, full-length, descending a flight of 


steps. Exhibited in 1776. Another portrait 
(H. 3 ft. 8 in. x 4 ft. 8 in.), at Chatsworth, 
representing the Duchess with her infant 
daughter Georgiana in her lap, was exhibited 
1786 ; a good copy, by Etty, painted for 
George IV., at Windsor Castle.—Leslie & 
Taylor, i. 155, 485 ; Art Journal (1855), 6. 

DEW (La Rosée), Jules Joseph Lefebvre, 
Wm. Astor, NewYork; canvas. Female figure, 
nude, reposing on a bank of clouds, floating 
over a lake covered with water-plants ; one 
foot, hanging downward, touches the water; 
the head reclines upon one hand, the other 
points languidly to the sky.—Art. Treas. of 
Amer., ii. 69. 

DEWEY, CHARLES MELVILLE, born 
in Lowville, N. Y., in 1851. Landscape 
painter, self-taught. Exhibited first at the 
National Academy in 1875. Member Society 
of American Artists. Studio in New York. 
Works: Along the Shore—September, No- 
vember Day, After the Rain, Water Lily, T. 
B. Clarke, New York ; Idyl (1879); Sunshine 
and Shadow (1880); Ebb Tide, Trees and 
Grasses (1881); Many Things—Study by 
the Sea, Summer Morning (1882); Lowery 
Weather (1883); Ebb of the Tide, Fall 
(1884). 

DEWING, THOMAS W., born in Bos- 
ton, Mass., May 4, 1851. Figure painter ; 
in 1876-79 pupil of Lefebvre and Boulanger 
in Paris. Studio in New York. Works: 
Young Sorcerer (1877); South Wind, A Mu- 
sician (1878); Fortune-Teller (1879); Morn- 
ing (1880); A Concert (1881); Portrait of 
Mrs. Dewing (1882); Prelude (1883); A 
Garden (1884); Slave, T. B. Clarke, New 
York. 

DEWING, MRS. THOMAS W. (Miss 
Oakey), born in New York. Figure and 
portrait painter; pupil of the National 
Academy, of John La Farge, and in Paris of 
Couture. Visited France and Italy in 1876, 
and again in 1883. Studio in New York. 
Ideal works: Woman Serving (1876) ; In a 
Balcony (1877); Violets (1878); Votive Panel 
to Paul Veronese (1879); Mother and Child 


401 


DE WINT 


(1882). Portraits : Miss O. S. Ward (1874) ; 
Portrait of a Boy (1875); Sleeping Child 
(1878) ; Portrait of her Father (1879). 

DE WINT, PETER, born at Stone, Staf- 
fordshire, Jan. 21, 1784, died in London, 
June 30, 1849. Landscape painter, water 
colours ; pupil of J. R. Smith, and student 
in 1807 of Royal Academy, where he exhib- 
ited in same year three landscapes. Painted 


chiefly views in East and North England, 
and in Normandy and South France. 


His 


‘a tad 
tte 
\) 


R 
> ‘$4 EN) 
2% Ww 
BPs 
ae) ee 
ae ay 
aA 


| 
lf P 
S 


a Tks 
’ 
a 
‘ Boni iy WS 
Ac H rt) 
z WSS y 
<I} Sar ‘(é 
try ee i} 
, YS M igen: 
- . Se Fas 


ra SNA 


Diana and Acteon, Titian, Bridgewater House, London. 


are in the South Kensington Museum.— 
Redgrave ; Art Journal (1849), 260. 

D’HEUR. See Heur. 

DIADUMENE, Edward J. Poynter, Lon- 
don; canvas. A nude female figure, full 
length, standing, binding her hair; back- 
ground, a marble bath with mosaic columns. 
The pose of the figure and the name are de- 
rived from the famous statue by Polyclitus 
of the boy binding his hair, called from that 
circumstance the Diadumenus. Royal Acad- 
emy, 1884. 

DIAMANTE, FRA, born about 1480, died 
after 1492. Florentine school ; pupil of Fra 


Filippo Lippi, and his assistant in painting 


the frescos at Prato and Spoleto, the latter 
of which were finished by him after his mas- 
ter’s death. Vasari says he attained great 
perfection in imitating Fra Filippo’s manner 
and obtained great credit for it. It is not 
possible to distinguish his hand in any of his 
master’s work.—C. & C., Italy, ii. 852; Va- 
sari, ed. Le Mon., iv. 121, 127. 

DIANA or Artemis, ancient pictures. 
Apelles, Aregon, Timarete. 

DIANA, Guercino, Dresden Gallery ; can- 

: vas, H. 4 fie2an x oie 
4in. Painted for Loren- 
zo Delfino, Venice; ac- 
quired in 1738. 

DIANA AND ACTA- 
ON, Domenichino, Pal. 
Pitti, Florence; canvas, 
H. 1 ft.x1ft.6in. Sub- 
ject from Ovid (Met., iii. 
155). Nymphs bathe in a 
stream flowing through 


See 


tains in background; other 


upon the banks around 
Diana, near whom stand 
two dogs ; Actzeon in the 
background. 

By Titian, Bridgewater 
House, London; canvas, 
figures two-thirds of life- 
size; signed. Diana and 
her nymphs surprised in the bath by Actz- 
on while hunting. Painted for Philip IT. of 
Spain, and sent to him in 1559, together 
with the Diana and Callisto ; given by Philip 
VY. in 1704 to Marquis de Grammont, from 
whom they passed into the Orleans Collec- 
tion; bought at its sale for Duke of Bridge- 
water for £2,500. Small copy at Madrid, 
probably by Del Mazo. Others, with vari- 
ations, in Bridgewater House, London ; 
Hampton Court, and in Nostitz Collection, 
Prague.—C. & C., Titian, ii. 275 ; Law, Hist. 
Cat. Hampton Court, 29; Vasari, ed. Mil., 
vil. 452 ; Waagen, Treasures, ii. 31. 


402 


$1 thick woods, with moun- 


nymphs, half nude, recline . | 


Se ee ee a ee —_—— 


DIANA 


DIANA AND CALLISTO, Annibale Car- 
racci, Louvre ; canvas, H. 5 ft. 3 in. x 6 ft. 6 
in. At left, massive rocks, down which fall 
several cascades; on first plane, three nymphs 
strip Callisto of her garments ; at right, Di- 
ana seated, surrounded by her nymphs, 
stretches her hand towards Callisto. Land- 
scape attributed to Paul Bril.—Villot, Lou- 
vre ; Filhol, vi. Pl. 400. 

By Francesco Solimena, Uffizi, Florence ; 
canvas, small figures. Diana bathing with 
nymphs discovers Callisto’s condition by her 
refusal to bathe. Soc. Ed., Gal. di. Firenze. 

By Titian, Bridgewater —— 
House, London; canvas, H. 5 |ysieg” 
ft. 84 in. x 6 ft. 4 in.; signed. Mess 
Diana and her nymphs prepar- | \Wgee% 
ing for a bath in a grove; the NA%- 
goddess sitting on the bank |’ cvs. 
points at Callisto, on the oppo- Et Ake 
site side, who struggles on the 
ground with shame in her face 
as nymphs raise the veil that | ” 
exposes her condition. Same e727) 
history as Diana and Actzon. 3 
Small copy, probably by Del Bea 
Mazo, in Madrid Museum. Re- oh 
plica, same size as original, with 
variations, probably by Titian’s 
disciples, in Vienna Museum. 
Small, late, much injured copy 
in Accademia di SS. Luca, 
Rome.—C. & C., Titian, ii. 275; Acad. 
(1874), 268 ; Waagen, Treasures, ii. 32. 

Subject treated also by Luca Giordano, 
Hermitage, St. Petersburg; Cornelis van 
Poelenburg, Hermitage, St. Petersburg. 

DIANA OR CHRIST, Edwin Long, Lon- 
don ; canvas, H. 5 ft. x 8 ft. 9 in. The sta- 
dium of Ephesus, with Roman rulers sitting 
in judgment, and soldiers and an executioner 
at right ; a Christian maiden, asked to sac- 
rifice to Diana, whose image and altar are be- 
fore her, refuses, although the alternative is 
death. Royal Academy, 1881. 

DIANA AND ENDYMION, Anton van 
Dyck, Madrid Museum ; canvas, H. 4 ft. 9 
in. x5 ft. 4 in. Diana and Endymion sur- 


5% rd we 
Eee Os 


Pere te ae ee 
os OY Vea oes ¥ 
= Re 
SaR tacs or ERT 
x fry 
J 


prised by a satyr while sleeping under a 
clump of trees. Collection of Charles II. 
DIANA AND NYMPHS, Domenichino, 
Pal. Borghese, Rome. The goddess, stand- 
ing in the centre on a hillock, raises her bow 
in one hand, and her quiver in the other, in 
sign of victory, one of her nymphs having 
pierced with her arrow the head of a pigeon 
attached to the top of a pole ; two nymphs 
approach, bearing on their shoulders a dead 
stag hung on a stick passed between his 
bound legs. This well-preserved picture is 
remarkable for its landscape as well as for 


a. 
9 


Fars x 
4 o Meg 
PISO Af. 8 
ee SERED rie 
- neal 

i 
= 


ae 
oe 
a 
ee 
—— ~ 
+ 


4 x 
ey 
A 
y 
ny 


A 4 \ \ 
‘ \ 
A TP = 
Br Zap) A 
SS SREY 
as xR) 
hy, y 


a 
iat 
mys 
re 
to 
he ee 
a" Papp na 
“| | 
| 


the natural and graceful attitudes of the fig- 
ures and the general movement. 

By Rubens, Lord Ashburton, London ; 
canvas, H. 5 ft. 9 in.x12 ft. 4 in. Diana 
and three nymphs overtaking a stag. LLand- 
scape by Wildens, animals by Snyders. Pur- 
chased of Joseph Bonaparte in 1838.—Waa- 
gen, Treasures, 11. 102. 

By Rubens, Baring Collection, London ; 
canvas, H. 7 ft.x5 ft. 10 in. Diana going 
to the chase, caressing a dog at her side with 
her right hand and carrying a spear in her 
left ; she is followed by three nymphs, two 
satyrs, and two more dogs. Purchased in 
1802 from Sir S. Clark for 1,850 gs.— Waa- 
gen, Treasures, 11. 182. 


403 


DIANA’S 


DIANA’S HUNTING PARTY, Hans Mak- 
art, James H. Banker, Irvington, N. Y.; 
canvas, H. 13 ft. 1 in. x 29 ft.6 in. A sunny 
landscape, with lake in foreground, in which, 
with the waters rippling around him, and 
protected by seven nude water-nymphs who 
implore for mercy, is a noble stag, fleeing 
for his life before the goddess and her hunt- 
resses, who have followed him to the bank ; 
Diana, standing on the summit of a preci- 
pice, with a group of maidens at her right, 
has her hunting spear poised in her hand ; 
on the borders of the lake a figure holds 
two hounds in the leash, while near them a 


Laura Dianti at her Toilette, Titian, Louvre. 


swan is beating its wings. The figures, of 
which there are fourteen, larger than life- 
size, are said to be portraits of Viennese 
beauties. Painted in 1880-82. Bought of 
the artist in 1880.—New York Tribune, July 
24, 1883. 

DIANA, BENEDETTO, Venetian school, 
end of 15th and beginning of 16th centuries. 
Associated with Carpaccio and Mansueti 
in the decoration of the Scuola di San 
Giovanni Evangelista, where he painted 
Brethren dispensing Alms, now in the Ven- 


ice Academy. One of his most characteris. 
tic works is the Madonna between four — 
Saints, once in §. Lucia, Padua, now in the © 
Venice Academy. Diana holds a low place 
in the annals of Venetian art.—C. & C., N. 
Italy, i. 223; Burckhardt, 599. 

DIANTI, LAURA, AT HER TOILETTE, 
Titian, Louvre ; canvas, H. 3 ft. 2 in. x 2 ft. 
6 in. A girl dressing her hair, attended by 
a man in background holding two mirrors, 
one before and one behind her. Supposed 
to be Laura Dianti, mistress or wife of Al- 
fonso d’Este, Duke of Ferrara, whose por- 
trait at Madrid resembles the man holding 
the mirrors ; but formerly called Titian and 
his Mistress. Painted about 1523; in col- 
lection of Charles IL. of England; bought for 
£100 by Jabach, who sold it to Louis XIV. 
Engraved by Forster ; H. Dancken.—Vasari, 
ed. Mil, vii. 485; C. & C., Titian, 1. 266 ; 
Filhol, vii. Pl. 455; Landon, Musée, xii. Pl. 
19; Klas. der Malerei, i. Pl. 59; Ch. Blane, 
Ecole vénitienne. 

DIAZ DE LA PENA, NARCISO VIR- 

| GILIO, born at 
Bordeaux, of 
Spanish parents, 
Aug.21,1808, died 
at Mentone, Nov. 
18, 1876. Genre 
and landscape 
painter, no mas- 
ter; began as por- 
celain painter. Al- 
though his sub- 
jects are often 
frivolous, and his drawing incorrect, his 
colouring is fine and his figures full of life. 
Won his chief fame through his landscapes. 
Medals: 3d class, 1844 ; 2d class, 1846 ; Ist 
class, 1848; L. of Honour,1851. He died from 
the bite of a viper. Works: Sketches from 
Nature (1831); Battle of Medina-Celi (1835); 
Adoration of Shepherds (1836); Old Ben 
Emeck (1838); Nymphs and Calypso (1840); 
The Dream (1840); Bas-Bréau, Eastern Wom- 
an, Gypsies going to a Festival, The Witch- 
craft (1844); Diana setting out for the Chase 


404 


Se 


DICAOGENES 


(1848); Bather tormented by Cupids (1850), 
Grenoble Museum ; Close of Fine Day, Last 
Tears, The Rival (1855); Pond with Vipers 
(1857); Galatea (1859); The Smyrniotes 
(1871); The Pyrenees, Bohemians (1850), 
The Fairy with the Pearls (1857), three 
others, Luxembourg Museum. Works in 
United States: Cupid Disarmed, Forest of 
Fontainebleau (1871), The Storm (1872), Fon- 
tainebleau, Effect of Autumn, Edge of the 
Forest, T. W. Walters, Baltimore ; Blind 
Man’s Buff, Forest of Fontainebleau, Cupid’s 
Whisper, Boy and Dogs, The Bather, East- 
ern Bazaar, W. H. Vanderbilt, New York ; 
Bohemian Girls, W. Astor, New York ; Fon- 
tainebleau, Samuel Hawk Collection, New 
York; Edge of Forest, A. Spencer, New York; 
Clairiére de la Reine Blanche, C. Vanderbilt, 
New York ; Landscape, Holy Family, Miss 
C. L. Wolfe, New York; Landscape, A Bel- 
mont, New York; Fontainebleau, M.Graham, 
New York; Ladies of Seraglio, Venus and 
Cupids, W. Rockefeller, ib.; Oriental Mother 
and Child, Mrs. P. Stevens, New York; La 
Femme et L’Amour, Flowers, several land- 
scapes, J. C. Runkle, New York ; Forest of 
Fontainebleau, J. W. Drexel, New York; 
Promenade a4 la Robe Bleu, J. P. Morgan, 
New York ; Lizard, M. K. Jesup, New York; 
Diana and Poictiers Hawking, R. L. Stuart, 
New York; Elysian Fields, D. O. Mills, New 
York ; Nymphs and Cupids, Wood Gatherer, 
Girl with Scythe, C. P. Huntington, New 
York ; Evening, Under the Oaks, C.S. Smith, 
New York; Fagot Gatherer, R. L. Cutting, 
New York; Autumn Landscape, G. I. Seney, 
Brooklyn ; Dogs in Forest of Fontainebleau, 
J.T. Martin, Brooklyn ; Coquette, J. H. War- 
ren, Hoosac Falls, N. Y.; Forest of Fontaine- 
bleau, Gypsies, Dead Bird, R. C. Taft, Prov- 
idence ; Landscape, Turkish Women, Mar- 
guerite and Martha, Flowers, W. Richmond, 
ib.; Favourite Sultana, Landscape-Study, J. 
A. Brown, ib.; Bathers, Study of Flowers, 
Foftune-Telling, B. Wall, ib.; Forest with 
Fagot-Gatherer, Blind Man’s Buff, Land- 
scape, T. Wigglesworth, Boston ; Fontaine- 
bleau, H. P. Kidder, ib.; Pond, W. Brimmer, 


ib.; Dark Wood Interior, Bohemians, H. 
Probasco, Cincinnati; Forest Scene, H. B. 
Hurlbut Collection, Cleveland ; Landscape, 
S. A. Coale, St. Louis; Maiden and Cupid, 
Woods of Fontainebleau, Mrs. W. P. Wil- 
stach, Philadelphia ; In the Woods, Mrs. J. 
G. Fell, ib.; La Mare aux Fées, Isle d’ Amour, 
J. D. Lankenau, ib. His son, Emile Diaz, 
also a painter, died in 1860, aged 25 years. 
—Claretie, Peintres, etc. (1882), 217; La- 
rousse ; Gaz. des B. Arts (1874), x. 243 ; 
L’Art (1877), viii. 49; Zeitschr. f. b. K., xiv. 
97; Meyer, Gesch., 272. 

DICAOGENHES, painter, about 596 B.c.; 
country and works unknown.—Pliny, xxxv. 
40 [146]. ; 

DICKSEE, FRANK, born Nov. 27, 1853. 
Figure painter, son 
and pupil of Thos. 
F. Dicksee. First 
exhibited in Royal 
Academy in 1876, 
Elijah confronting 
Ahab, for which he 
obtained the gold 
medal. In 1877 his 
Harmony, purchased wz 
by the Academy, \ «S 
brought him into ~— ° 
notice. Elected an A.R.A. in 1881. Works: 
Evangeline (1879); Benedicite, The House 
Builders (1880); The Symbol (1881); A Love 


Story (1882); Too late, too late, ye cannot 


enter now (1883); Romeo and Juliet (1884); 
Chivalry (1885).—Art Journal (1881), 94. 
DICKSEE, THOMAS FRANCIS, born in 
London, Dec. 13, 1819. Portrait and figure 
painter, pupil of H. P. Briggs. Works: 
Othello and Desdemona (1875); Ahab and 
Jezebel, Cordelia (1877); Madeline (1878); 
Beatrice (1879); Heiress (1880); Patricia 
(1882); Cordelia, Lucretia, Antigone (1884). 
DIDAY, FRANCOIS, born in Geneva in 
1812, died there, Nov. 28,1877. Landscape 
painter; studied in Geneva, Paris, and Rome, 
but especially from nature. Medals in Paris 
in 1840, 1841 ; L. of Honour, 1842 ; Russian 
Order of Stanislaus, Belgian Order of Leo- 


405 


DIDIER 


pold. Member of St. Petersburg Academy. 
Works: Mill at Montreux (1832); Alpine 
Hut in Meyring Valley (1834); Chalet in 
High Alps, Evening in the Valley, Torrent 
in the Alps (1840); Glacier of Rosenheim 
(1841), Lausanne Museum ; Oaks struck by 
Lightning (1847), Geneva Museum ; View 
on Brienz Lake, Berne Museum ; Mountain 
Landscape with Torrent, New Pinakothek, 
Munich ; Storm on Lake of Geneva.—Brock- 
haus, v. 316; Faber, ii. 612; Larousse, vi. 
763 ; Vapereau (1880), 572; L’Art (1878), 1. 
24 


DIDIER, JULES, born in Paris, May 26, 
1831. Landscape and animal painter, pu- 
pil of Cogniet and of Laurens; won the 
grand prix de Rome in 1857. Medals in 
1866 and 1869. Works: Farm in Roman 
Campagna (1866), Luxembourg Museum ; 
Normandy Landscape (1868); Hunting a 
Hare, Count de Chabrillan ; Morning on 
the Borders of a Wood, Sacrifice to Pan 
(1874); Lost Ox, Evening at Ostia (1879); 
Two Bulls and the Frog, Ford of the Arou 
(1880); Fable of the Women and the Secret 
(1881); Agriculture (1882); Souvenir of a 
Journey to the Mines of Taquah, Between 
Rome and Civita Vecchia (1883); Legend of 
St. Hubert, Portrait of Fox (1884) ; Ford 
near Autun, Relay (1885); Return of the 
Drove, William Astor, New York. 

DIDO AND AINEAS, Joseph M. W. 
Turner, National Gallery, London ; canvas, 
H. 4 ft. 10 in.x7 ft. 11 in. The Queen 
with Auneas and her Court in long proces- 
sion, prepared for the chase ; in background, 
Carthage. (Dryden’s Aineid, iv.) Royal 
Academy, 1814. Engraved by W. R. Smith; 
J. T. Willmore in Turner Gallery. 

DIDO BUILDING CARTHAGE, Joseph 
M. W. Turner, National Gallery, London ; 
canvas, H.5 ft. x 7 ft.5 in. River scene, with 
bridge in front, and piles of classic architec- 
ture, completed and in progress ; Dido, sur- 
rounded by her people, on left; on right, 
monument to her murdered husband, Sy- 
cheus. Royal Academy, 1815. Bequeathed 
by Turner on condition that it and the Sun 


rising in a Mist should be hung between two 
Claudes, as they now are. Engraved by T. 
A. Prior ; E. Goodall, in Turner Gallery.— 
Cat. Nat. Gal.; Hamerton, Life. 

DIDO, DEATH OF, Guwuercino, Palazzo 
Spada, Rome. The queen, richly dressed, 
lies on her funeral pile, with sword buried 
to the hiltin her bosom. Raising the upper 
part of her body with difficulty, she speaks 
to one of her attendants whose features ex- 
press sympathy. To the right, men and 
women weeping ; others to the left. In the 
background is seen the fleet of Auneas sail- 
ing away, and with it a flying Cupid. Fine 
colour and excellent effect. Painted about 
1626. Engraved by G. Balestra ; R. Strange. 
—Meyer, Kiinst. Lex., iii. 3; Lavice, 387. 

By Sir Joshua Reynolds, Buckingham 
Palace; canvas, H. 4 °#t..9 im x7 fh 9 im: 
Three figures. Dido, having mounted the 
funeral pyre, stabs herself, and dies in the 
arms of her sister Anna. Exhibited in 1781. 
Bought, after Sir Joshua’s death, by his 
niece, the Marchioness of Thomond, for 
£200; at her sale (1821), purchased for 
George IV. Engraved 8S. W. Reynolds.— 
Waagen, Treasures, il. 24. 

DIEFFENBACH, ANTON HEINRICH, 
born at Wiesbaden, Feb. 4, 1831. Genre 
painter, pupil in Disseldorf of Jordan ; re- 
turned in 1858 to Wiesbaden, lived in 1863- 
70 in Paris, then for one year in Switzer- 
land, and in 1871 settled in Berlin. His 


favourite sphere is children’s and peasant 


life. Works: Day before Wedding (1862); 
Hunter’s Cant (1863); Dangerous Meeting, 
Christmas Eve (1865); Visiting the Nurse 
(1869); First Walk, Tidbit, National Gal- 
lery, Berlin ; Missed the Fox; Only Cour- 
age! Leave little Brother! (1877).—Brock- 
haus, v. 323 ; Miiller, 135. 

DIEGO OF ALCALA, ST., Murillo, Duc 
de Pozzo di Borgo, Paris; canvas, H. 5 ft. 
10 in. x6 ft. 83in. The Saint kneeling, im- 
ploring aid for the victims of an epideunic, 
from an alcalde who recoils as if fearing con- 
tagion ; background, architecture and peo- 
ple. The figure beside the alcalde said to 


406 


DIEGO 


be portrait of Murillo. Painted in 1645-47 


for Convent of S. Francisco, Seville; taken 
_ to Paris by Soult: sold at his sale (1852), 
20,000 fr.—Réveil, Musée de Peinture, iv. 
255 ; Curtis, 227. ; 


es re a 


St Diego of Alcala, Murillo, Paris. 
OF ALCALA, ST., AND THE 
GUARDIAN, Murillo, Charles B. Curtis, 


DIEGO 


New York; canvas, H. 7 ft. 9 in. x6 ft. 6 


in. 


The Saint surprised, with bread in his 
robe changed to flowers, by the Guardian, 


_ who raises his hands in astonishment at the 


miracle ; behind the Saint, a monk with a 
basket of bread ; on left, four old beggars 
and two boys, asking alms ; in front, Christ, 


_ marked with the stigmata, seated in guise 
_ of a beggar; above, five cherubs, three of 


whom shower flowers on the Saint. Accord- 


ing to the legend, S. Diego, who had often 


been reproved by the prior for excessive 


charity, was saved from punishment on one 
- occasion by the miracle depicted. Painted 
_ in 1645-47 for Convent of S. Francisco, Se- 


ville ; after occupation of city by French, 


fell into hands of D. Antonio Bravo ; thence 


: 
; 
: 


through D. Aniceto Bravo, D. Jorge Diez 
Martinez, and D. Luis Portilla (1865), to W. 


_ J. Shaw (1873), who sold it in 1880 to Mr. 
_ Curtis. Etched by A. Lalanze.—Curtis, 227 ; 


; 


ee ee ee ean Se ee 


G. de Leon, ii. 256; Tubino, Murillo (Se- 
ville, 1864), 185. 

DIEGO OF ALCALA, ST., MIRACLE 
OF, Murillo, Louvre ; canvas, H. 5 ft. 11 in. 


x14 ft. 9 in.; signed, dated 1646. Tha 
Saint in rapture, raised above the ground, 
while angels perform his duties as cook in 
the convent kitchen ; on left, a monk intro- 
duces two visitors, the one on extreme left 
supposed ‘to represent Murillo, Painted in 
1645-47 for Convent of S. Francisco, Se- 
ville; taken by Marshal Soult, whose heirs 
sold it to Louvre in 1858 for 80,000 fr. In- 


| | judiciously restored and repainted for Soult. 


Sometimes called La Cuisine des Anges (An- 
gels’ Cookery).—Curtis, 225; Gaz. des B. 
Arts, Jan. 1875, Feb. 1877; LTllustration, 
Jan. 8, 1859. 

DIEGO OF ALCALA, ST., AND. THE 
SOUP, Murillo, Academia S. Fernando, Ma- 
drid ; canvas, H. 5 ft.8in.x5ft.10in. The 
Saint, kneeling on left, blesses a pot of soup 
on the floor, around which are four kneeling 
urchins and their mother; surrounding them 
are a throng of other beggars awaiting their 
share. Painted in 1645-47 for Convent of 
S. Francisco, Seville. Etched by F. Navar-. 
rete, in Cuadros. . . . Academia de S. Fer- 
nando.—Curtis, 226. 

DIELITZ, KONRAD, born in Berlin, 
Jan. 20, 1845. Genre and portrait painter, 
pupil of Eschke and of Biermann; travelled 
in 1871-73 in the Bavarian Alps to study 
popular life. Works: Rest on the Height, 
Smoker (1874) ; Caught (1877) ; Portraits 
of Bismarck (1874); Emperor William (1875), 
and Crown Prince.—Miiller, 136 ; Zeitschr. 
f. b. K., xvi. 5. 

DIELMAN, FREDERICK, born in Han- 
over, Germany, Dec. 25, 1848. Genre 
painter, pupil of the Munich Royal Acad- 
emy under Dietz, at which time he gained 
a medal in the life class. Professional life 
spent principally in New York. One of the 
founders of the Society of American Artists. 
Elected N.A. in 1883. Mr. Dielman is also 
well known as an etcher. Studio in New 
York. Works in oil: Patrician Lady (1877); 
Newsboy (1879); My Own Puss! (T. B. 
Clarke, New York); Bad Weed, Gallantry 
(1880); Lunching (1881); Maryland Garden, 
In the Arbour (1882); Mora Players (1883) ; 


407 


DIELMAN 


Reclaimed, Tessa (1884) ; Young Gamblers 
(1885). Water colour: Old Time Favour- 
ites (1883). 

DIELMAN, PETRUS EMANUEL, born 
in Ghent, July 29, 1800. History, genre, 
and portrait painter, pupil of Ghent Acad- 
emy ; then studied in France and Italy the 
works of the old masters, visited Switzer- 
land, returned in 1831 and became in 1841 
director of the art school at Herzogenbusch. 
Works: Jupiter and Leda; Elopement of 
Psyche ; Scenes from Life of St. Augustine 
(Church of Anglican Ladies, Bruges) ; Fish- 
Market at Ghent ; Return of Scheveningen 
Fishermen ; Fisherman’s Family ; portrait 
of Pope Gregory XVI.—Immerzeel, i. 182. 

DIELMANN, JAKOB FRIEDRICH, born 
at Sachsenhausen, near Frankfort, in 1809, 
died at Kronberg, in the Taunus, May 30, 
1885. Genre painter, pupil of the Stadel 
Institute under Prestel, and in 1835-42 of 
the Diisseldorf Academy ; settled in Frank- 
fort, afterwards at Kronberg, and painted 
chiefly idyllic scenes from country life, in 
which the landscape is always prominent. 
Works: Farm-House (1835), National Gal- 
lery, Berlin; Hessian Village Smithy; Grand- 
mother and Grandchildren ; Parson with 
Children ; Village Barber ; Kirmess ; Pro- 
cession ; Children at Church-Door ; Peasant 
Girl in Doorway ; Smith with Wooden Leg ; 
Farm-House on the Ahr; Vintage at Sach- 
senhausen.— Brockhaus, v. 325; Kunst- 
Chronik, xx. 589; Wolfg. Miiller, Diisseldf. 
K., 248 ; Wiegmann, 296. 

DIEPENBEECK, ABRAHAM VAN, born 
at Bois-le-Due, 
baptized May 
9, 1596, died in 
Antwerp in 1675. 
Flemish school ; 
history and por- 
trait painter, pu- 
pil of Rubens ; 
was at first a 
glass painter; 
travelled in Italy, and in reign of Charles I. 
was in England, where he was employed by 


Duke of Newcastle in making designs for his 
book on Horsemanship. Went to Antwerp 
about 1629, admitted to guild in 1638, director 
of Academy in 1641. Works: St. Norbert, Ant- 
werp Cathedral; Virgin with St. Ely, Church 
of Carmelites, Antwerp; Ecstasy of St. Bona- 


ventura, Antwerp Museum; St. Francis ador- 
ing Sacrament, Brussels Museum ; Entomb- 
ment, Children’s Bacchanale, Brunswick 
Museum; Neptune and Amphitrite, Dresden 
Gallery ; Marriage of St. Catherine, Flight — 
of Cleelia, Berlin Museum ; Allegory of Mor- — 
tality, Pieta, Vienna Museum ; Abraham and 
Angels, Feeding the Poor (1629),Old Pinako- 
thek, Munich; portrait of Young Man (1665), 
do. of Young Woman, Sti- 

ND a) del Gallery, Frankfort; 

Flight of Cleelia, portraits 

~ of Manand Woman, Louvre, 

1004 Paris ; Rape of Ganymede, 

Bordeaux Museum. Others 

in Stockholm and Chatsworth Galleries.— 

Biog. nat, de Belgique, vi. 48; Ch. Blane, 

Eeole flamande; Cat. du Musée d’Anvers 

(1874) ; Michiels, viii. 138 ; Rooses (Reber), 
324; Van der Branden, 777. 

DIEPRAAM, ABRAHAM, flourished at 
Dordrecht, 1648-74, said to have died at 
Rotterdam. Dutch school; genre painter, 
pupil of the glass painter Willem Jansz van 
der Stoop, then in Rotterdam of H. M. 
Sorgh and, after having travelled in France, 
of Adriaen Brouwer, to whom his pictures 
are sometimes attributed. Was member of 
the guild at Dordrecht in 1648, and still 
living in 1674. Work: The Breakfast 
(1665), Berlin Museum.—Quellenschriften, 
xiv. 590. 

DIERICK DE LOUVAIN. See Bouts, 
Dierick. 

DIES, ALBERT CHRISTOPH, born in 
Hanover, in 1755, died in Vienna, Dec. 28, 
1822. Landscape painter; instructed by 
an obscure painter, but mostly self-taught ; 
went in 1775 to Mannheim, Basle, and Rome, 
where he studied and copied for three years, 
and remained until 1796, visiting Naples 
twice. In 1796 he settled in Salzburg, and 


408 


DIETEKEN 


went the following year to Vienna. Works: 
View near Salzburg (1796), Salzburg Land- 
scape in Storm (1797), Vienna Museum ; 
six Views around Hisenberg, Hungary, Na- 
tional Gallery, Pesth; Cascades of Tivoli 
and Valley of Ustica (1798), Prague Gallery; 
two from Coliseum, View of Vesuvius, View 
of Naples, View near Albano, Pyramid of 
Cestius.—Andresen, iii. 123; Larousse, vi. 
784 ; Wurzbach, iii. 286. 

_ DIETEKEN, C. (D. Cieteken?), flour- 
ished about 1630. Dutch school ; landscape 
painter in the manner of Gillis d’Hondecoe- 
ter. Work: Siege of Spanish Fortress in 
the Netherlands (1630), Berlin Museum. 

DIETERLE, Mme. MARIK, born at Sévres, 
France ; contemporary. Landscape painter, 
feuphter and pupil of E. van Marcke. 
Medal, 3d class, 1884. Works: Pasture in 
Normandy (1881) ; Le Pré-Caudron (1882) ; 
Road of Rambures, Farm-Yard (1884) ; 
Meadow of Monthieres at Morning, Old 
Apple-Tree (1885). _ 

DIETERLEIN. See Dietterlein. 

DIETHE, ALFRED, born in Dresden, 
Feb. 13, 1836. History painter, pupil of 
the Dresden Academy, and of Julius Hiibner. 
Works : Disciples at Emmaus (1860), Dres- 
den Gallery ; Mary at Elizabeth’s ; Landing 
of Columbus at San Salvador ; Luther post- 
ing his Theses ; Lorenzo de’ Medici; Elector 
Augustus and Electress Anna of Saxony ; 
Allegorical Figures of Mathematics, Natural 
Science, History, and Geography.—Miiller, 
136. 

DIETLER, JOHANN FRIEDRICH, born 
at Solothurn, Switzerland, in 1804, died in 
Berne, May 4, 1874. Portrait painter, pu- 
pil in Solothurn of Germann, studied for 
several years in Paris, then in Italy and 
Geneva, and settled in Berne; one of the 
best modern portrait painters. Works: 
Burgomaster Wengi before the Canon ; 
Women of Brienz; In the Artists’ Book of 
Zofing.—Kunst-Chronik, ix. 658. 

DIETRICH, ANTON, born at Meissen, 
Saxony, in 1833. History painter, pupil of 
the Dresden Academy, then of Schnorr ; 


went in 1859 to Diisseldorf, and having vis. 
ited Italy in 1861, executed fresco paintings 
in the hall of the Kreuzschule in Dresden. 
Works: Faust with Gretchen in the Prison 
(1859). Frescos: Abraham's Sacrifice; Death 
of Marcus Curtius; Death of Socrates; 
Luther at Worms; Poets, Scholars, and 
Artists ; Allegorical Figure of School (1868- 
72), Hall of Kreuzschule, Dresden.—Miil- 
ler, 136. 
DIETRICH Kata or x Dietericy), 
CHRISTIAN fala, 
WILHELM 
ERNST, born 
in Weimar, Oct. 
30, 1712, died 
in Dresden, 
April 24, 1774. 
German school ; / 
history, genre, 
and landscape painter, first instructed by his 
father, court painter in Weimar, then pupil in 
Dresden of Alex. Thiele, where by his great 
talent he won the life-long patronage of 
Count Briihl, and attracted the attention of 
Augustus the Strong, who made him court 
painter. Seeing the Italian painters in 
Dresden preferred to him, he went, in 1734, 
to Weimar, and did not return until 
1742. In 1743 the Elector sent him to 
Italy, where, in Venice and Rome, he stud- 
ied the Dutch and Flemish masters, above 
all, Rembrandt, Ostade, and Poelenburg ; is 
noted for his special talent for reproducing 
the individual style of other masters. In 
1745 he was made inspector of the gallery, 
and in 1765 professor at the Academy. He 
was member of the Augsburg, Bologna, and 
Copenhagen Academies. Works: Wander- 
ine Musicians (1745), National Gallery, 
London; Nymphs Bathing, Woman taken 
in Adultery, Tribute Money, Hampton 
Court Palace ; The Adulteress (1753), Lou- 
vre; Old Man’s Head, Rocky Landscape 
with Hermit, Kunsthalle, Hamburg ; Annun- 
ciation (1760), Adoration of the Shepherds 
(1760), Vienna Museum ; Lazarus in Abra- 
ham’s Bosom, 3 Landscapes, Old Pinakothek, 


409 


DIETRICH. 


Munich Gallery; 54 in Dresden Gallery ; 
Repose in Egypt (1757), Entombment (1759), 
Squirrel, Camera Obscura, 2 Italian Views, 
Hermitage, St. Petersburg ; others in Brus- 
sels, Brunswick, Cassel, Darmstadt, Bor- 
deaux, and Milan Galleries. Left many 
etchings.—Allgem. d. Biogr., v. 192; Ch. 
Blanc, Ecole allemande ; Brockhaus, v. 336; 
Kugler (Crowe), ii. 559 ; Larousse, vi. 794 ; 
Meyer, Conv. Lex., v. 705. 

DIETRICH, JOHANN FRIEDRICH, 
born at Biberach, Sept. 21, 1787, died in 
Stuttgart, Jan. 17, 1846. History painter ; 
first instructed in Stuttgart by the court 
painters Heideloff and Seele, went in 1811 to 
Munich, then to Rome, whence he returned 
to Stuttgart in 1816. Two years after he 
went again to Italy and was allied in Rome 
to Cornelius, Overbeck, and Veit. After his 
return in 1822 he executed a number of 
decorative works for the court and was 
made professor at the art-school in 1833. 
He painted good portraits. Works: Christ 
at Emmaus (1816), Stuttgart Gallery ; Abra- 
ham’s Entry into the Promised Land (1823), 
Royal Palace, Stuttgart ; St. Martin’s Dream 
(1834); Resurrection (1840), Catholic church, 
Stuttgart ; Nativity (1843); Christ on Mount 
of Olives (1845). Frescos: Scenes from 
Myth of Bacchus (1826-28), Villa Rosen- 
stein, near Stuttgart; Visitation, Nativity, 
Adoration of Magi, Christ on Mount of 
Olives, Crucifixion, Entombment, Resurrec- 
tion (1838-39).—Allgem. d. Biogr., v. 156 ; 
Larousse, vi. 795 ; Raczynski, 11. 478. 

DIETRICHSON, MATHILDE (née Bon- 
neir), born in Christiania, July 12, 1837. 
Genre painter ; studied first in Christiania, 
then in Diisseldorf (1857-61) under Mengel- 
berg and Tidemand. In 1862 she married 
the art historian Dietrichson, and visited with 
him Germany, where she studied in Berlin 
under Julius Schrader ; spent three years in 
Italy ; settled in 1866 at Upsala, where she 
won several medals; visited, in 1869, Greece, 
Turkey, Italy, and France, and studied in 
Paris under Chaplin, then in Munich (1875- 
77) under Defregger. Works: Old Man 


smoking (1868); Young Mother's Visit at 


‘Home (1869); Italian Family Scene (1870); 


Educated Maid (1872); Master’s Daughter 
(1873).—Miiller, 137. 

DIETTERLEIN, WENDEL, born in 
Strasburg in 1550, died there in 1599. Ger- 
man school; history painter, mostly in 
fresco ; enjoyed great reputation in his time, 
and is said to have been the first to make 
use of pastel. The Dresden Academy has 
176 original drawings by him. Works: 
Calling of St. Matthew, Vienna Museum ; 
do., Amalien-Stift, Dessau; Christ with 
Martha and Mary, Prague Gallery.—Wolt- 
mann, Deutsche Kunst in Elsass, 314 ; Mé- 
nard, L’Art en Alsace, 80; Nagler, Mon., v. 
Dad. et 
DIETZ, FEODOR, born at Neunstetten, 

= Baden, May 29, 1813, — 
died at Gray, Haute- 
Saéne, France, Dec. 
18, 1870. History 
and battle painter, 
pupil in Carlsruhe of 
. Kuntz, then from 
2 1833 at the Munich 
* Academy under Phil- 
ipp Foltz; adopted, 
during a Sires years’ 
sojourn in Paris, the style of Horace Ver- 
net, under whom and Alaux he studied, 
and returned in 1839 to Carlsruhe, whence 
he moved to Munich in 1843; took part 
in the campaign in Schleswig-Holstein, in 
1848-49, and was made professor of the art- 
school in Carlsruhe in 1862. He accom- 
panied the German army in 1870 to France, 
where he died suddenly of paralysis of the 
heart. Works: Death of Max Piccolomini 
(1835), Carlsruhe Gallery ; Death of Pappen- 
heim ; Gustavus Adolphus at Liitzen (1838); 


Margrave Ludwig of Baden’s Victory over 
the Turks (1837); Baden Regiment at 


410 


DIEUDONNE 


Montmartre in 1814 (1840) ; Baden Cavalry 
in Battle on the Beresina (1842) ; the Four 
Hundred of Pforzheim in Battle of Wimpf- 
fen (1843); Before the Gates of Leipsic 
(1846), Carlsruhe Art-Union ; Explosion of 
Danish Man-of-War Christian VII. (1849), 
Night Review of Napoleon I. (1853), De- 
struction of Heidelberg under Mela (1856), 
Carlsruhe Gallery ; Eleanor of Sweden be- 
side Coffin of Gustavus Adolphus (1857), 
Carlsruhe Gallery ; Crown Prince Louis of 
Bavaria in Battle of Arcis-sur-Aube, Bava- 
rian Cavalry in Battle of Brienne, Attack of 
Bavarians on Turks at the Siege of Vienna 
(1862), National Museum, Munich ; Bliicher 
crossing Rhine near Caub (1863); March 
to Paris in 1814, National Gallery, Berlin ; 
Flight of American Family over the Susque- 
hanna (1867); Episode from Battle of Lang- 
ensalza (1867); Parade of Baden Division 


' before King William ; Afterpiece to Battle 


_ France; contemporary. 


of Rossbach ; Meeting of German Cavalry 
after Battle of Hochstidt.—Allgem. d. Biogr., 
vy. 209; Brockhaus, v. 339; Illustr. Zeitg. 
(1871), i. 275 ; Kunst-Chronik, vi. 75 ; Reg- 
net, 1. 64. 

. DIEUDONNE, EMMANUEL DB, born 
in Geneva, Switzerland, naturalized in 
Figure and por- 
trait painter, pupil of Cabanel. Medal: 
3d class, 1881. Works: Fatma (1879); 
Spectre of the Rose (1880); Tamerlane and 
Bajazet (1881); Bazaar at Cairo, Carmen 
(1882); Jupiter and Juno (1883); Madame 
Angot (1884); Guitar, Reve du Kief 
(1885). 

DIEZ, SAMUEL FRIEDRICH, born at 
Neuhaus, Meiningen, Dec. 19, 1803, died at 
Meiningen, March 11,1873. Portrait, genre, 
and landscape painter, pupil in 1822-25 of 
the Munich Academy ; made court painter 
in Meiningen in 1832. During his visits to 


_ the German courts, St. Petersburg, (1839), 


Stockholm (1842), London (1841 and 1845), 
Paris (1842), Brussels (1845), he collected 


his album of European celebrities, compris- 


_ ing 300 portraits. 


During the last ten years 


of his life he painted also genre pictures and 


oo bia 2 Sa 


landscapes, the latter very successfully. - 
Allgem. d. Biogr., v. 218. 

DIEZ, WILHELM, born at Baireuth, 
Jan. 17, 1839. Genre and battle painter, 
pupil of the Munich Academy for a short 
time under Piloty ; attracted attention first 
by his illustrations to Schiller’s Thirty Years’ 
War. His genre pictures are on a small scale 
in the manner of Meissonier. In 1872 he 
became professor at the Munich Academy. 
Works: Marauders, Ambuscade (1873); 
Travellers in 17th Century (1874); At the 
Sutler’s (1876); Two Horsemen by an Inn, 
Horse-Market (1878); His Excellency tray- 
elling (1879); From the 16th Century, Pic- 
nic, National Gallery, Berlin.—Brockhaus, 
v. 341; Miller, 137 ; Zeitschr. f. b. K., xix. 
130. 

DIGBY, Sir KENELM, portrait, Anton 
van Dyck, Windsor Castle. Another, half- 
length, National Portrait Gallery, London. 

By Anton van Dyck, Wingfield Digby, 
Esq., Sherborne. Sir K. D. and family, 
half-length, figures seated. 

DIGBY, Lady VENETIA, portrait, Anton 
van Dyck, Harl Spencer, Althorp House. 
Death-bed picture ; half-length, lying, as if 
in sleep; by her side a withered rose. 
Painted in 1633, after Lady Digby’s death 
(May 1, 1633). Replica, Dulwich Gallery.— 
Head, 46. 

DIGBY, Lady VENETIA, portrait, Anton 
van Dyck, Windsor Castle. 

DIGNITY AND IMPUDENCEH, Sir Ed- 
win JLandseer, National Gallery, London ; 
canvas, H. 2 ft. 11 in. x2 ft. 3in. An old 
bloodhound, of the Duke of Grafton’s breed, 
and a little Scotch terrier looking out of the 
same kennel. British Institute, 1839; be- 
queathed by Jacob Bell in 1859.—Cat. Nat. 
Gal. 

DILLENS, ADOLF, born at Ghent, Jan. 
2, 1821, died there in January, 1877. His- 
tory and genre painter, brother and pupil 
of Hendrik D.; first works were historical, 
but later exhibited pictures illustrative of 
Zealand peasant life. Medals: Brussels, 
1848, 1850, 1854; Paris, 3d class, 1855 ; 


411 


DILLENS 


_ Order of Leopold, 1862 ; member of Amster- 
dam Academy, 1866. Works: Five Senses, 
Sunday in Flanders (1848); Asking in Mar- 
riage (1849); Peruzzi painting Portrait of 
dead Constable de Bourbon (1850), Bruges 
Gallery ; Courtship in Zealand, Taking Toll, 
Fair at West Capelle (1854); Gossip at the 
Window ; Ball at Goes, Juggler, Ring Tour- 
naments, Taking Toll (1855); Marchand de 
Complaintes, Farm Interior (1857); Summer 
in Zealand—Taking Toll at the Bridge, Win- 
ter in Zealand—Skaters, Defeat of the Duke 
d’Alengon at Antwerp in 1593, To be Warm 
when it is Cold (1862); Jeu de Banes; A 
Zealand Wedding ; An Abuse of Confidence ; 
Ballad Seller ; Grief and Disorder ; Recruit- 
ing, Brussels Museum.—Art J ournal (1867), 
69; Kramm, ii. 344. 

DILLENS, HENDRIK, born at Ghent, 
Dec. 20, 1812, died in Brussels in 1872. 
Genre painter, pupil of Maés-Canini. 
Works: French Trooper caressing his 
Child; Capture of Joan of Arc; Old Man 
counselling Youths; Consecration of a 
Church ; Charles V. and the Swine-herd ; 
Charles V. at Antwerp ; Baptismal Cere- 
monies in Russia (1828); Tavern Interior 
(1833); Laura and Petrarch (1834); Trium- 
phal Entry of Philippe Auguste into Paris 
(1835).—Immerzeel, i. 183. 

DILLIS, JOHANN CANTIUS, born at 
Griingiebing, Bavaria, in 1779, died in Mu- 
nich in 1856. Landscape painter, brother 
and pupil of Johann Georg von D., whom 
he accompanied in 1805 to Switzerland, Ty- 
rol, and Italy ; remained in Rome and re- 
turned to Munich alone in 1807, but again 
joined his brother on his journeys to Italy 
in 1808 and to Paris in 1815. Works: View 
near Grotta Ferrata (1809), Schleissheim Gal- 
lery; Outlook from high Alps near Neselau, 
Stone Bridge near Audorf, Wood with Hunt- 
ers and Animals, Village on a Brook (1825); 
Cows and Goats by Peasant’s Cottage, Win- 
ter Landscape (1825); Two Views in Bava- 
rian Alps (1826-27); Mountain Landscape 
with Cattle.—Allgem. d. Biogr., v. 226 ; La- 
rousse, vi. 854. 


DILLIS, JOHANN GEORG VON, born 
at Griingiebing, Bavaria, Dec. 26, 1759, died 
in Munich, Sept. 28, 1841. German school; 
landscape painter, pupil of the Munich 
Academy in 1783-90; visited Switzerland and 
the Rhine in 1788 and was made inspector of 
the Munich Gallery in 1790. Thence he ac- 
companied Gilbert Elliot to Italy, then lived 
during the war-times in Ansbach, and in 
1805 visited Italy once more. In 1806 he 
accompanied the Crown Prince Louis to 
Paris and on a journey through Switzerland, 
France, and Spain, and in 1817-18 to Sicily. 
As director of the Royal Gallery, after 1822, 
he earned much credit through his arrange- 
ment of the art treasures in Munich and 
Nuremberg. Works: View of Tegernsee, 
View near Grotta Ferrata, New Pinakothek, 
Munich Gallery ; Waterfall of Kesselberg, 
View of Dietramszell; others in Schleiss- 
heim and Leuchtenberg Galleries, and Te- 
gernsee Castle.—Allgem. d. Biogr., v. 229 ; 
Andresen, iv. 187; Brockhaus, v. 355. i 

DINET, (ALPHONSE) ETIENNE, born — 
in Paris; contemporary. History, portrait, 
and landscape painter; pupil of Galland, 
Bouguereau, and Tony Robert-Fleury. Med- 
al, 3d class, 1884. Works: Mother Clotilde 
(1882); View from Rock of Samois, Phoebus 
(1883); St. Julian the Hospitaller (1884) ; 
View of the Oued-Msila after Rain (1885). 

DINIAS, Greek painter, date unknown ; 
one of earliest workers in monochrome.— 
Pliny, xxxv. 34 [53]. 

DIOGNETUS, painter, 2d century 4.D. 
Gave lessons in painting to Emperor Marcus 
Aurelius.—Jul. Cap. Anton., 4, 9. 

DIONYSIUS, Greek painter, of Colophon, 
5th century Bc. Equalled Polygnotus in 
technical skill, but inferior to him in higher 
qualities. Became a distinguished artist by 
study rather than through natural gifts. 
(Zlian, V. H. iv. 3; Plut. Timol. 36). Aris- 
totle says (Poét. 2) that he painted men just 
like the originals, meaning probably that he 
was deficient in the ideal. According to 
Pliny (xxxv. 37 [118]) he was called Anthro- 
pographus because he painted nothing but 


412 


DIONYSIUS 


men ; but some think that this should be 
referred to the later Dionysius, the contem- 
porary of Sopolis. 

DIONYSIUS, portrait painter, country un- 
known, lived in Rome Ist century s.c. Pliny 
says (xxxv. 40 [147]) that he and Sopolis 
were the most celebrated portrait painters 
of their time and that their works filled the 
galleries. See Jaia. 

DIONYSODORUS, painter, of Colophon 
(Pliny, xxxv. 40 [146]). Probably identical 
with Dionysius of Colophon. 

DIONYSUS or Bacchus, pictures. See 
Aristides, Ctesilochus; Liber, see Echion, Ni- 
clas. 

DIORES, painter, country unknown. Men- 
tioned by Varro (de Ling. Lat., ix. 6, 12) in 
a way to lead one to suppose that he was 
contemporary with JMicon. 

DIRK VAN HAARLEM. 
Dierick. 

DISCEPOLI, GIOVANNI BATTISTA, 
born at Lugnano in 1590, died in 1660. 
Milanese school; history painter, pupil of 
C. Procaccini. Works: Adoration of Magi, 
Brera, Milan ; Purgatory, 8. Carlo, Milan ; 
St. Theresa, Sta. Teresa, Como.—Lanzi. 

DISCOVERER, THE, William M. Hunt, 
Capitol, Albany, N. Y.; mural painting, demi- 
lune, H. 15 ft. x 45 ft. The Discoverer, full- 
length, draped, standing, gazing on the set- 
ting sun, in a boat which is rising to a sea 
against a sunset sky ; behind him, Fortune, 

full-length, nude and winged, holding the 
- tiller with her left hand and trimming the 
sail with her right; at the prow is Hope, 
with one hand on the boat, the other point- 
ing forward ; in front of her blind Faith, 
her face buried in her arms, floats with the 
tide, while Science unrolls a chart at the side. 
Painted in 1878.—Scribner’s Mage., xix. 175. 

DISCUSSION OF IMMACULATE CON- 
CEPTION, Guido Reni, Hermitage, St. Pe- 
tersburg. To right, St. Jerome, with a book, 
looks at the Virgin, who, dressed in white, 
appears in glory with two angels; SS. Am- 
brose, Chrysostom, Basil, Augustine, and 
Gregory are also represented. Sold by the 


See Bouts, 


Marchese degli Angeli to Lord Walpole. 
Engraved by W. Sharp and I. Sanders.— 
Descr. of the Hermitage, 22. 

DISGUST, Paolo Veronese, Cobham Hall, 
England ; canvas, 5 ft. 10 in. square. A man, 
nude, recumbent, is chastised by Cupid with 
his bow, while two women, one holding an 
ermine, are hastening away. From Collec- 
tion of Queen Christina of Sweden to Orleans 
Collection ; valued at sale in 1793 at £150, 
sold for 44 guineas. Engraved by B. Audran. 
—Waagen, Treasures, ii. 499; iii. 20; Cab. 
Crozat, ii. Pl. 27. 

DISPUTE OF THE SACRAMENT, 
Raphael, Camera della Segnatura, Vatican, 
Rome ; fresco, arched top, H. 16 ft. x 26 ft. 
Sin. The Triumph of Religion. God the 
Father, in a glory of angels and cherubim, 
holds the globe in one hand and raises the 
other in benediction ; beneath, Christ seated 
between the Virgin and John Baptist, with 
six saints, patriarchs, and prophets on each 
side, seated upon clouds upheld by cheru- 
bim (left—Peter, Adam, John Evangelist, 
David, Stephen, Jeremiah (?); right—Judas 
Maccabzeus, George, Lawrence, Moses, James, 
Abraham, Paul); below Christ, the Holy 
Ghost and four angels bearing the Gospels; 
in lower part, the Eucharist on an altar, 
round which are grouped forty-three figures, 
popes, bishops, doctors of the church, and 
learned men, many of them portraits—among 
others Dante, Savonarola, and Fra Angelico. 
Painted in 1508. Called also Theology. 
Original studies in Windsor Castle Collec- 
tion ; Stadel Museum, Frankfort ; Collection 
Duc d’Aumale, Chantilly; and Louvre. En- 
eraved by G. Mocetto, Keller, Volpato, G. 
Ghisi, Aquila, Gantrel, and Mochetti.—Va- 
sari, ed. Mil., iv. 330; Miintz, 320; Passavant, 
ii. 73; Springer, 159; Kugler (Kastlake), ii. 
427; Gruyer ; Perkins, 115. 

DISTRAINING FOR RENT, Sir David 
Wilkie, William Wells, Esq., Redleaf; can- 
vas. The sheriff taking an inventory of the 
household goods of a cottager, to be seized 
for rent. Sixteen figures. Painted in 1814 ; 
bought by British Institution for 600 guin- 


413 


DITSCHEINER 


eas. Engraved by Raimbach. — Heaton, 
Works of Sir D. W.; Mollett, 50, 62. 

DITSCHEINER, ADOLF, born in Vi- 
enna, June 29, 1846. Landscape painter, 
pupil of the Vienna Academy under Albert 
Zimmermann; went in 1876 to Munich, 
travelled in the Bavarian Alps and North 
Italy, and stayed for some time in Istria and 
on the Adriatic. Works: Wood Interior, 
Swamp in Sunset, View in the Ramsau ; On 
Shore of Lake Chiem, Vienna Museum.— 
Miller, 1388. 

DITTENBERGER, JOHANN GUSTAV, 
born at Neuenweg, Baden, in 1799, died in 
Vienna. History and portrait painter, pu- 
pil in Heidelberg of Rottmann and Roux ; 
then from 1821 at the Munich Academy ; 
visited Paris, where he studied for some 
time under Gros, and Rome until 1831, 
when he settled in Vienna. He painted 
mostly altarpieces in the manner of the old 
German masters, also profane history and 
allegories. Works: Annunciation (1844); 
St. Andrew converting the Russians; Ave 
Maria; St. Severin blessing Austria ; Ger- 
mania and Schleswig-Holstein (1850); Christ 
on Mount of Olives; Knight Toggenburg ; 
Venus going to the Bath. — Meyer, Con. 
Lex., v. 771; Wurzbach, iii. 315. 

DIVINA TRAGEDIA (Divine Tragedy), 
Paul Chenavard, Luxembourg Museum ; 
canvas, H. 13 ft. 1 in. x 18. The over- 
throw by Christianity of the ancient relig- 
ions. In centre, the new God expiring upon 
the Cross, which is upheld by the Father ; 
above, in the heavens, the Blessed, with 
Cherubim ; behind the principal group, on 
one side Adam and Eve, on the other the 
Virgin and Child, symbols of the Fall and. 
the Redemption ; below, Maia weeps over 
the bodies of Jupiter-Ammon and of Isis- 
Cybele, while on the right and left are the 
gods and mythical heroes of the ancient 
world, overthrown and flying before the 
new divinity. In the lower angle, at right, 
a segment of the world, on which is seen 
the city of Rome, indicates the place of the 
vision.—Salon, 1869. 


DIVINO, EL. See Morales, Luis de. 
DOBSON, WILLIAM, born in Holborn 
in 1610, died in London, Oct. 28, 1646. 
Pupil of Sir Robert Peake, an obscure 
painter and picture dealer ; learned to copy 
Van Dyck so accurately that the great mas- 
ter was attracted by him and introduced 
him to Charles I. After Van Dyck’s death 
he became sergeant-painter and groom of 
the privy chamber. He painted Charles L, 
Charles IL, Prince Rupert, and many other 
notable personages. His Beheading of St. 
John Baptist is at Wilton House ; portrait of 
Milton, Gatton House ; portrait of Cleveland 
the poet, Bridgewater House ; portrait group 
of himself and wife, Hampton Court ; por- 
traits of himself, and of Sir H. Vane, Quarles, 
and E. Porter, National Portrait Gallery.— 
Redgrave ; F. de Conches, 36. 
DOBSON, WILLIAM CHARLES 
<> THOMAS, born in 
Hamburg, Ger- 


Y = \ 
WiTy Vy 
Ny 2 J many, in 1817. 
Gh Wy 3 FAS . 
By Hs Sain History painter, 
< ao - 
5 I pupil in London of 
SAM 7 A) By WAR 
SN Clad aoa \N Royal Academy, 


NY A Li é dares Sy ; 
th, Was _&> and of Charles 


rw Eastlake; 

ON master in 1843-45 
\ of Birmingham 
} \\ School of Design. 
In 1845 visited Italy and Germany for sev- 
eral years. Has painted chiefly scriptural 
subjects; many of his works have been en- 
eraved. Elected an A.R.A. in 1860, and 
R.A. in 1872. Works: Hermit (1842); Paul 
and Virginia (1843); Italian Goatherd (1846); 
Witch of Endor (1848); Madonna (1850); 
Christian Pilgrim (1852); Charity of Dorcas 
(1855); Christ going to Nazareth (1857); 
Der Rosenkranz (1859); The Child Jesus in 
the Temple (1866); A Crown to her Hus- 
band (1872); Paul at Philippi (1873) ; Re- 
becca (1876); Waiting (1877); At the Mas- 
querade (1878); Venetian Girl (1879); Gold- 
en Age (1882); Morning, Bianca Capello 
(1883).—Art Journal (1860), 187 ; Sandby 
ii, 344, 


head 


414 


ea eee ae 


DOBY ASCHOFSKI 


DOBYASCHOFSKI, FRANZ, born in Vi- 
enna in 1818, died there, Dec. 7, 1867. His- 
tory painter ; pupil of the Vienna Academy 
under Fiihrich and Kupelwieser, and soon 
became the most distinguished among Fth- 
rich’s followers ; visited Italy and Paris, and 
afterwards was made professor at the Vienna 
Academy. Works: The Flood (1835); St. 
John (1843); St. Boniface preaching the 
Gospel to the Germans (1844); Joseph re- 
lating his Dream, St. Barbara (1845); Em- 
peror Otto hunting with Leopold of Baben- 
berg (1846); Duke Albrecht III. receiving 
his Firstborn, Cimabue discovering Giotto’s 
Talent (1847); The Nun’s Dream (1848); 
Faust and Margaret in the 19th Century 
(1849); Duke Ernest the Iron saving Cym- 
burgis (1850), Vienna Museum ; St. Ferdi- 
nand, St. Joseph with Infant Christ (1851); 
Roman Shepherd-Boy, St. Elizabeth giving 
Alms, St. Ulrich. Fresco: Glorification of 
Christ, Christ on Mount of Olives, Altlerchen- 
feld chapel, Vienna.—Allgem. d. Biogr., v. 
277; Brockhaus, v. 277. 

DOCENO. See Gherardi, Cristofano. 

DOES, JACOB VAN DER, the elder, 
born in Amsterdam 
in 1623, died at The 
Hague, Nov. 17, 1673. 
Dutch school; land- 
scape and animal 
painter, pupil of 
Nicolas Moyaert, but 
strongly influenced 
when in Rome by Pie- 
ter van Laar. He was ) 
one of the founders of the guild of painters 
at The Hague (1656). Works: The Little 
Shepherds (1655), Brussels Museum ; Land- 
scapes with Sheep (3, two dated 1661, 1668), 
Copenhagen Gallery; do. (1), Cassel Gal- 
lery; Landscape with Cattle, Brunswick 
Museum ; Italian Landscapes (2, Old Pin- 
akothek, Munich ; do. (1657), Lie chtenstein 
Gallery, Vienna; do., and Antique Fountain 
(1662), Vienna Museum ; Replica of latter 
in Leuchtenberg Gallery, St. Petersburg.— 
Ch. Blane, Ecole hollandaise; Kramm, ii. 351. 


\\, |ied with J acopo Vig- 


DOES, JACOB VAN DER, the younger, 
born in Amsterdam in 1654, died in Paris 
in 1699. History painter, son of Jacob van 
der Does, the elder ; pupil of Karel du Jar- 
din and of Gaspard Netscher, and finally 
studied in school of Gerard de Lairesse. 

DOES, SIMON VAN DER, born in Am- 
sterdam in 1653, died at The Hague (?) in 
1717. Dutch school; son and pupil of 
Jacob van der Does the elder, and scholar 
of Adrian van de Velde. When young set- 
tled at The Hague, and returned there after 
visiting Friesland and passing a year in 
England. Later he worked at Brussels and 
Antwerp. Painted landscapes with shep- 
herds and cattle; also portraits. Works: 
Shepherds Reading (1706), Shepherdess 
(1708, 1711), Maternal Love (1714), Amster- 


oy Vopoee 179d 


V boes 
1099. 


SY Dees 1>08 


dam Museum.—Ch. Blane, Ecole hollan- 
daise ; Immerzeel, i. 187 ; Kramm, ii. 351. 

DOLCI, CARLO (Cantino), born in Flor- 
ence, May 25, 1616, 
died there, Jan. 
17, 1686. Floren- 
tine school; stud- 


nali, a pupil of 
Matteo Rosselli. A 
prolific, though very 
careful, painter, who 
bestowed the great- 
est labour and pains even upon the least im- 
portant parts of his pictures. His subjects 
are always sacred, but his work is marred 
by an insipid affectation of religious feeling. 
His sweetness is cloying and his devotion 
superficial. Charles Blanc calls him the 
true representative of Jesuitical art. The 
tone of his colouring is generally adapted to 


415 


DOLPH 


the character of his subjects, being always 
soft and harmonious. Some of his female 
figures are better than any of his male sub- 
jects. He was the last of the Florentine 
school, as well in style and taste as in point 
of time. Among his best works are: Mar- 
tyrdom of St. Andrew, Sleeping St. John, 
Madonna, Christ in the Garden, St. Peter 
Weeping, Pal. Pitti, Florence; Magdalen, 
and Madonna appearing to a Monk, Uffizi, 
Florence ; St. Cecilia, Salome, Dresden Gal- 
lery ; St. John writing his Gospel, Berlin 
Museum ; St. Catherine, St. Cecilia, Magda- 

len, Her- 

; ld mitage, 

St. Peters- 

, burg; Sin- 

cerity, Ma- 

Ae yp, O "la ( donna, Vi- 

enna Mu- 

seum; Madonna, Magdalen, Munich Pinakot- 

hek.—Ch. Blanc, Ecole florentine ; Seguier, 
58; Wornum, Epochs, 356. 

DOLPH, J. H., born at Fort Ann, N. Y., 
April 18, 1835. Genre and animal painter, 
pupil in 1870 of Louis van Kuyck in Ant- 
werp; studied in Paris in 1880-82. He 
spent several years abroad studying in Rome 
and painting on the continent. Elected an 
A.N.A. in 1877. Studio in New York. 
Works: Knickerbocker Farm-Yard (1869) ; 
Parson’s Visit, Beggars (1874) ; Landscape 
and Cattle, Antiquarian (1876, Philadel- 
phia); Waiting for the Hunters (1879) ; 
Grace before Meat (1880) ; The Antecham- 
ber (1882); Choice of a Sword, Minstrel 
Songs, The Reprimand (1883) ; Cat and Kit- 
tens, Rat Retired from the World—La Fon- 
taine’s Fable (1884); A Princess, I can't 
Play with You (1885). 

DOMENICHINO (Domenico Zampieri), 
born in Bologna, Oct. 21, 1581, died in Na- 
ples, April 15, 1641. Bolognese school; son 
of a shoemaker ; pupil of Denis Calvaert, 
afterward of the Carracci at the same time 
with Guido and Albani, who became his in- 
timate friend. After studying works of Cor- 
reggio and of Parmigiano at Parma and 


Modena, went to Rome and aided Annibale 
Carracci in the Farnese frescos. He soon 

F became distin- 
guished as an ac- 
curate designer 
and a true colour- 
ist, and was em- 
ployed in paint- 
ing frescos by 
Cardinals Bor- 
ghese, Farnese, 
and Aldobrandini. 
His increasing re- 
putation excited the jealousy of Guido, Lan- 
franco, and other painters, who treated him 
with so much injustice that he returned to 
Bologna, April 18, 1612. A month later he 
went to Rome, but he did not settle there 
until 1620, when Gregory XV. appointed him 
painter and architect of the apostolic cham- 
ber. In 1630, after the death of the Pope, 
he went to Naples to decorate the chapel of 
S. Januarius in the Cathedral with frescos of 
events in the Saint’s life, but before they 
were finished he was so persecuted by the 
notorious cabal —the painters Corenzio, 
Spagnoletto, and Caracciolo—that he wor- 
ried himself to death, or, as is suspected, 
died of poison. Domenichino was rated in 
the last century as only second to Raphael, 
but, although a forcible and learned painter, 
he was commonplace in invention and want- 
ing in ideality. His masterpiece is the 
Communion of St. Jerome, in the Vatican, 
where it has been ranked as a rival to 
Raphael’s Transfiguration. Other examples : 
Martyrdom of St. Agnes, do. of St. Peter 
Martyr, Madonna del Rosario, Bologna Gal- 
lery; Diana and Actzeon, Magdalen, Venus, 
Cupid and Satyrs, Pal. Pitti, Florence ; 
Portrait of Cardinal Aguccia, Uffizi ; Sam- 
son, Lucca Gallery ; Madonna with Saints, 
Brera, Milan; Guardian Angel, St. John 
the Evangelist, Naples Museum; Adam 
and Eve, Pal. Barberini, Rome ; Diana and 
Nymphs, Cumzan Sibyl, Pal. Borghese, 
Rome; Cumean Sibyl, Capitol Gallery, 
Rome ; Adam and Eve in Paradise, Triumph 


416 


DOMENICO 


of David, Pal. Rospigliosi, Rome ; Charity, 
Dresden Gallery; Susannah at the Bath, 
Munich Gallery; Hercules and Achelous, 
Hercules and Cacus, Herminia at the Shep- 
herd’s House, Holy Family, Adam and Eve, 
David playing the Harp, Ecstasy of St. Paul, 
St. Cecilia, Triumph of Love, Timoclea be- 
fore Alexander, Rinaldo and Armida, Louvre; 
Adoration of the Shepherds, Dulwich Gal- 
lery ; Tobias and the Angel, St. Jerome and 
the Angel, National Gallery, London; Cupid, 
Hermitage. Among his frescos in Rome 
are the Death of Adonis, Loggia of the Giar- 
dino Farnese ; Martyrdom of St. Sebastian, 
S. M. degli Angeli; Four Evangelists, pen- 
dentives of the cupola 8. Andrea della Valle; 
Two from life of St. Cecilia, S. Luigi; As- 
sumption of the Virgin, S. M. in Trastevere. 
His finest frescos are, however, those at Grotta 
Ferrata near Rome, from the life of St. 
Nilus, and scenes from the Life of the Vir- 
gin in the Duomo at Fano.—Malvasia, il. 
219; Lanzi, iii. 84; Ch. Blanc, Ecole bolo- 
naise ; Dohme, 2iii.; Kugler (Eastlake), iv. 
485; Richter, Cat. Dulwich Gal. (1880), 
56. 

DOMENICO DI BARTOLO, born at As- 
ciano early part 15th century, died after 
1444, Sienese school. Vasari errs in call- 
ing him a nephew of Taddeo Bartoli, but 
he was probably taught in his school. His 
manner is Umbro-Sienese, deficient in order 
and balance, and marked by absence of per- 
spective. His earliest picture, Madonna and 
Angels, dated 1433, is in the Siena Acade- 
my; his latest is of 1444. His best work is 
Madonna with Saints, in the convent of S. 
Giuliana, Perugia. There are five frescos 
by him in the Infirmary of the Hospital, 
Siena.—C. & C., Italy, iii. 52; Vasari, i1. 223 ; 
Milanesi, Siena, 171. 

DOMENICO VENEZIANO, born about 
1390, died in Florence, May 15, 1461. Vene- 
tian school. Birth and education unknown. 


assistant, Bicci di Lorenzo. He used oil as 
a medium, but it is certain that he did not 
learn its use from Antonello da Messina, as 
asserted by Vasari, since it was known be- 
fore that time, and is mentioned by Cennini 
in his Treatise written in the 14th century, 
and that he was not assassinated by Andrea 
del Castagno, as is stated by the same author, 
since he survived him four years. His Ma- 
donna with Saints, formerly in S. Lucia de’ 
Bardi, Florence, now in the Uffizi, is a light- 
toned piece, of gay and well-fused colour, 
and fair impasto, held by some to be painted 
in tempera and by others with an oil vehicle. 
—C. & C., Italy, ii. 313 ; Vasari, ed. Mil., ii. 
667, 683 ; Eastlake, Materials, 218 ; Libke, 
Gesch. ital. Mal., 1. 283. 

DOMINGO, J., born in Spain; contem- 
porary. Genre painter, pupil in Paris of 
Meissonier, to whose works his bear strong 
resemblance. Works: Halt at Inn, Card 
Players, Stable Interior, Guard Room, W. 
H. Vanderbilt, New York ; Cavalier and Dog, 
J. J. Astor, New York ; During the Battle, 
Wm. Astor, New York ; In a Spanish Cafe, 
G. I. Seney, Brooklyn; Spanish Stable with 
Donkey, J. C. Runkle, New York; Return 
from Pasture, Palette Club, New York ; Scene 
in Cabaret; Antiquary; Guitar Player. — 
Miller, 139. 

DOMINGO Y MARQUES, Don FRAN- 
CISCO, born in Valencia, Spain ; contempo- 
rary. History painter; began to exhibit in 
1866, historical genre scenes and portraits. 
Medals: 3d class, 1866; 1st class, 1871. 
Works : An Event in the 17th Century ; The 
Calabrese (1866); St. Clara; Last Day of Sa- 
guntum (1871). 

DOMINGUEZ Y SANCHEZ, Don MAN- 
UEL, born in Spain; contemporary. His- 
tory and portrait painter. Medals in 1866 
and 1871. Works: Faun (1866) ; Death of 
Seneca (1871) ; Maja, Venetian Study ; San- 
cho Panza with the Duchess and her Ladies 


Painted early in Perugia, and from 1439 to| (1882) ; Agriculture (1884) ; Frescos in San 
1445 in S. M. Nuova, Florence, where he | Francisco el Grande.—La Dustracion (1882), 
executed a series Of frescos with the aid of |i. 3; ii. 346 ; (1883), i. 91; ii. 163 ; (1884), 1 
his apprentice, Piero della Francesca, and his | 336. 


417 


DOMINICK 


DOMINICK, ST., Titian, Palazzo Borghese, | the other holding gloves. 


Passavant says 


Rome ; canvas, half-length, life-size. Stand-| painted about 1507. Engraved by G. Vitta. 
ing, pointing upward with right hand.—C. | —Miintz, 204; Springer, 499 ; Passavant, ii. 


& C., Titian, u. 419. 

DONI (Dono, Adone), Umbrian school, 
(1540-1572). Of Assisi, where he painted 
in the lower Church of 8S. Francesco the Le- 
gend of St. Stephen and other works. In 
Perugia he painted about 1550 the Last 
Judgment in S. Francesco ; Adoration of the 
Magi, in 8. Pietro ; and Julius IIL. restoring 
to Perugia its Municipal Government in the 
Hall of the Magistrates. An altarpiece by 
him in the Duomo, Gubbio.—Lanzi, i. 349 ; 
Ch. Blanc, Ecole ombrienne; Burckhardt, 
575. 

DONI, AGNOLO, portrait, Raphael, Pa- 
lazzo Pitti, Florence ; wood, H. 1 ft. 11 in.x 
1 ft.2in. MHalf-length, seated near a balus- 
trade, on which rests his left arm; black 
coat, red waistcoat, black cap, long hair fall- 
ing on neck. Painted in Florence in 1506 ; 
sold, together with the portrait of Maddalena 
Doni, in 1826, by their descendants, to Leo- 
pold IL, Grand Duke of Tuscany, for 5,000 
scudi. Engraved by Cappelli, by G. Repi, 
and in Rosini’s History of Italian Painting. 
—Vasari, ed. Mil., iv. 325; C. & C., Raphael, 
i. 266; Gotti, Gal. di Firenze, 182; Gal. du 
Pal. Pitti, iv. 92; Miintz, 201; Passavant, ii. 
39; Springer, 85; Gruyer, Portraits, i. 97. 

DONI, MADDALENA (Strozzi), portrait, 
Raphael, Palazzo Pitti, Florence ; wood, H. 
1 ft. 11 in.x1 ft. 2 in. MHalf-length, nearly 
full face, with hands crossed in lap; dress 
red and blue, a gold collar and chain, and 
pear-shaped pearl pendant. Same history 
as above. Study in Louvre. Engraved by 
Delfini.—Gal. du Pal. Pitti, iv. Pl. 98; Miintz, 
141, 201; Springer, 60, 85; Gruyer, i. 105, 
and ref. above. 

DONI, PAOLO. See Uccelli. 

DONNA GRAVIDA (Pregnant Woman), 
Raphael (?), Palazzo Pitti, Florence ; wood, 
H. 2 ft. 2 in.x1 ft. 8 in. Half-length, in 
Florentine costume of 1500, wearing a cap, 
and a golden chain about her neck ; one 
hand, adorned with rings, resting in her lap, 


52. 


Donna Gravida, Raphael (?), Palazzo Pitti, Florence. 


DONNA VELATA (Veiled Lady), Raph- 
ael (? ), attributed to Unknown, Palazzo Pitti, 
Florence; canvas, H. 2 ft. 8 n.x2 ft. A 
beautiful woman, half-length, seated, seen 
three-quarters face, turned to left; hair part- 
ed and put back behind ears, and head 
partly covered with a veil, which falls grace- 
fully on each side, enveloping right arm; 
necklace of black stones; dress, a white 
plaited chemise, a low bodice trimmed with 
gold, with white damask sleeve. Supposed 
portrait of Raphael’s mistress, Margherita ; 
bears some resemblance to Madonna di San 
Sisto and to Fornarina in Palazzo Barberini. 
Passavant, Miinder, Springer, Ruland, and 
others, consider this a genuine Raphael ; 
Gruyer, Burckhardt, and Bode think it a 
Bolognese picture, perhaps after an original 
by Raphael. Brought to Pitti in 1824 from 
Villa of Poggio Reale. Engraved by L. 
Gritiner; D. Chiossone; W. Hollar, in reverse, 
from a copy.—Vasari, ed. Mil.,iv.355; Miintz, 


418 


i 
“x 
4 
< 
+. 
v= 


£ , 
a 
=. 
+ 
3 
i 
: 
2 
Me 
a 
oy 
a. 


DONNER 


536; Passavant, ii. 276; Springer (Dohme | Florentine school ; 


2ii.), 251; Art Journal (1882), 1 

DONNER, OTTO, born in Frankfort, 
May 10, 1828. History painter, pupil of 
the Stidel Institute until 1847, then in 
Paris of Delaroche, and in Munich of 
Schwind. Visited Italy in 1852, and in 1862 
went again to Paris to study under Couture ; 
practised for some years portrait painting 
there and in London ; assisted in 1866 in the 
painting of Schwind’s frescos in the Vienna 


Donna Velata, Raphael (7), Palazzo Pitti, Florence. 


Opera House, and was then for ten years in 
Rome, where he painted genre scenes from 
Italian life and the antique world ; returned 
to Frankfort in 1876. Works: Lititzow’s Men 
beside Kérner’s Body ; Satyr with Nymphs 
resting after the Chase (1863); Vintage at 
Ischia ; Interior of Pompeiian Winter Gar- 
den; The Forsaken, Campanian Tavern ; 
Evening Scene before Herculaneum Gate ; 
Portraits of Prince and Princess Scherbatoff, 
Princess Bariatinsky, Emperor William 
(1877).—Miiller, 139. 

DONZELLO, PIETRO DEL, born in 
Florence in 1451, died there, Feb. 24, 1509. 


son of Francesco d’An- 
tonio di Jacopo, bailiff (donzello) of the Sig- 
noria of Florence. He and his brother Poli- 
to, or Ippolito (born in Florence in 1455, 
and apprenticed to Neri de’ Bicci in 1469- 
71) were companions in that painter’s studio, 
Florence, as late as 1480. Several panels of 
doubtful authenticity in the Naples Muse- 


um, as well as the wall paintings in the ex- 


refectory of S. Maria Nuova (probably by 
an Umbrian master) are attributed to them. 
De’ Domenici, who makes the Donzelli 
Neapolitans and pupils of Colantonio del 
Fiore and Andrea Solario, is unreliable.— 
Vasari, ed. Mil., ii. 485; Burckhardt, 613 ; 
C. & C., N. Italy, i. 102; Ch. Blane, Ecole 
napolitaine. 

DOPPLER, KARL EMIL, born at 
Schnepfenthal, Gotha, March 8, 1824. Genre 
painter ; devoted himself at first, from 1844, 
to architectural painting, lived then for sev- 
eral years in New York, as illustrator, and 
returned in 1859 to study genre painting in 
Munich under Piloty. In 1860-70 he was 
in Weimar, as costume-draughtsman for the 
theatre and teacher at the art-school, and in 
1870 settled in Berlin. Works: Ambus- 
cade in time of Henry II.; Tho Widow of 
Sadowa; The Secret, Duchess Maria Anna 
and Duke Charles of Zweibriicken, National 
Museum, Munich ; The Four Main Festivals 
of the Year.—Brockhaus, v. 477; Miller, 
140 ; Illustr. Zeitg. (1870), 1. 176. 

DORE, GUSTAVE PAUL, born 1 in Stras- 
burg, Jan. 6, 1833, 
died in Paris, Jan. 
27, 1883. History 
painter and de- 
signer; original 
name Dorer, 
changed by him A 
to French form. “7 
Went to Paris 
when fifteen years 
old and began by 
contributing sketches to illustrated periodi- 
cals. Exhibited in Salon in 1848 pen-and- 
ink landscape drawings, and in 1855 his first 


419 


DOREUR 


oil picture, Battle of the Alma, which was 
followed in 1857 by Battle of Inkermann ; 
but he did not attract notice until 1863, 
when his Paolo and Francesca da Rimini 
drew the attention of the critics. Though 
he executed other ambitious works he too 
often yielded to the temptation of multiply- 
ing work at the expense of thought and fin- 
ish, and failed to win fame as an historical 
painter. None deny the wealth of his im- 
agination, or the astounding facility of his 
hand, but those who best appreciate his 
powers regret that they were not better di- 
rected. Asa sculptor he possessed consid- 
erable ability. L. of Honour, 1861 ; Officer, 
1879. Works: Tobit and the Angel (1865), 
Luxembourg Museum; Evening in the 
Country of Granada, Savoy, Rebellious An- 
gels Cast Down, Titans (1866); Mountebank’s 
Family, Neophyte, Siesta, Andromeda, Tri- 
umph of Christianity (1868); The Alps, A 
Valley (1869); Alms, Savoy (1870); Alsace, 
Massacre of Innocents (1872); Prayers, 
Darkness or Night of the Crucifixion, The 
Desert (1873); Christian Martyrs, Dream 
of Pilate’s Wife (1874); Dante and Virgil in 
the Seventh Circle, House of Caiphas, Vaga- 
bonds (1875); Jesus Condemned (1876); 
Christ’s Entry into Jerusalem (1877); Ecce 
Homo, Moses before Pharaoh (1878) ; The As- 
cension, Death of Orpheus (1879); Twilight, 
Souvenir of Loch Corron (1880); Day Dream, 
Vale of Tears, The Garry in Perthshire, Val- 
ley in the Alps (1882). Illustrations of 
books: Rabelais (1854); Wandering Jew 
(1855); Balzac’s Contes drélatiques (1862); 
Dante’s Inferno (1861); Attala, Don Quixote 
(1862); Bible (2 vols., 1865-66); Paradise 
Lost (1866); La Fontaine’s Fables (1867); 
Tennyson’s Idyls of the King (1867-68); 
Hood’s Poems (1870); Baron Davillier’s Es- 
pagne (1873); Coleridge’s Ancient Mariner 
(1876); Enault’s London (1877); Ariosto’s 
Orlando Furioso (1879); Poe’s Raven (1883). 
—Portfolio (1883), 64; L’Art (1883), i. 115 ; 
Gaz. des B. Arts, Dec., 1883; Chronique 
des Arts, 1883; Illustr. Zeitg. (1878), 11. 
390; Kunst-Chronik, xviii. 320; Hamer- 


ton, Painting in France; Larousse ; Jarves, 
Art Thoughts; Perrier, Etudes, 153; Cla- 
retie, Peintres, etc. (1884), 11, 105; Bruno 
Meyer, Studien und Kritiken, 92 ; Zeitschr. 
Eo be Biaieas 

DOREUR, LE (The Gilder), Rembrandt, 
William Schaus, New York ; canvas, H. 2 ft. 
5 in. X1 ft. 1lin.; signed, dated 1646. Por- 
trait of a man about forty-five years old, face 
seen in a three-quarter view, with dark beard 
and moustaches ; wears a large slouched hat 
and a brown jacket ; right hand in the breast 
of his vest. A masterpiece, of great bril- 
liancy of colour. Painted in 1640. From De 
Morny Collection.—Gaz. des B. Arts (1863), 
xiv. 292; Smith, vii. 121. 

DORIA, ANDREA, portrait, Sebastian del 
Piombo, Palazzo Doria, Rome ; wood, a lit- 
tle more than life-size. Standing by a win- 
dow, on the stone sill of which are two gal- 
leys, symbols of his rank as admiral. Painted 
about 1528. One of the finest portraits in 
the world.—Vasari, ed. Mil., v. 576; C. & 
C., N. Italy, ii. 346 ; Burckhardt, 724. 

DORIGNY, LOUIS, born in Paris in June, 
1654, died in Verona in 1742. French 
school; history painter, pupil of his father, 
Michel D., and of Lebrun. Dissatisfied 
with the verdict of the Academy, which 
awarded him the second prize in 1671, he 
went to Rome, where he studied four years ; 
then painted at Gubbio and Foligno, and, for 
ten years, in Venice. Married there, and 
settled in Verona ; visited Paris in 1704, and 
Naples in 1706, on his return to Verona, 
whence he was called to Vienna in 1711 by 
Prince Eugene to decorate his palace ; 
painted also in Prague. Excelled as a fresco 
painter. Works: Susanna at the Bath, 
Bordeaux Museum; Two Miracles of St. 
Zeno, Daniel justifying Susanna, Annuncia- 
tion, College Church, Verona; Dream of 
Maccabeeus, Scenes in Life of Louis de Gon- 
zaga, S. Sebastino, ib.; St. Christopher car- 
rying the Child Jesus, S. Eufemia, ib.; Rape 
of Sabines, Combat of Horatii and Curatii, 
Palazzo Giusti, ib.; Theological and Cardi- 
nal Virtues, Palazzo Pelegrini, ib.; Feast of 


420 


be * dl 
wen) Gel ee 


aa Na 


mee ele” bose, Se “, 7 ams 
Pe ea yan SE rg 


se 


ai a il aa 


ee 


‘Dee. 14, 1852. 


DORIGNY 


Bacchus, Four Quarters of the Globe, Ve- 
nus and the Graces, several others, Palazzo 
Allegri, ib.; Frescos in Palazzi Spolvarini, 
Murelli, and others, ib.; do. in S. Silvestre, 
Venice ; in Jesuits’ Church, Palazzi Tron 
and Zenobio, ib.; do. representing Patron 
Saints of Trent and their Martyrdom, Trent 
Cathedral.—Bellier-Auvray, i. 440; D’Argen- 
ville, Abrégé, v. 271; Dussieux, Les Artistes 
francais 4 Pétranger, 148, 521. 

DORIGNY, MICHEL, born at Saint- 
Quentin (Aisne), in 1617, died in Paris, Feb. 
21, 1665. French school; history painter, 
pupil of Simon Vouet, his father-in-law ; re- 
ceived into the Academy in 1663, adjunct 
professor in 1662, professor in 1664. Works: 
Flora and Zephyr, Louvre, Paris; Allegory, 
Madrid Museum.—Bellier-Auvray, 1. 440. 

DORINDA WOUNDED, Guercino, Dres- 
den Gallery ; canvas, H. 7 ft. 3 in. x9 ft. 10 
in. Dorinda in the arms of Linco, who shows 
her wound to Silvio (Guarini’s ‘Pastor Fido”). 
Painted for Alfonso de Novellara ; bought in 
1744 in Madrid asa Correggio. Engraved 
by L. 8S. Lempereur. 

DORNER, JOHANN JAKOB, the elder, 
born at Ehrenstetten, Breisgau, in 1741, died 
in Munich, May 22, 1813. German school ; 
history and genre painter, pupil in Freiburg 
of Résch, and from 1759 in Augsburg, of 
Ignaz Bauer ; visited North Italy and went 
to Munich, where, in 1762, he became court 
painter, and, after a visit to the Netherlands 
and Paris, in 1766-68, inspector, and in 1777 
director of the Gallery. Works: Female 
Storekeeper (1775), Old Pinakothek, Mu- 
nich ; Portrait of Artist, Augsburg Gallery ; 
seven genre scenes, Schleissheim Gallery.— 


Allgem. d. Biogr., v. 354 ; Brockhaus, v. 493. 


DORNER, JOHANN JAKOB, the young- 
er, born in Munich, July 7, 1775, died there, 
German school; landscape 
painter, son and pupil of Johann Jakob the 
elder, but formed himself chiefly through 
study from nature ; took Claude Lorrain and 
Karel du Jardin for his models. He visited 
Switzerland and France in 1801-38, and after 
his return was made restorer, and in 1808 


inspector of the Royal Gallery, in 1815 mem- 
ber of the Hanau, in 1820 of the Vienna and 
Berlin, and in 1824 of the Munich academies. 
Works: Views of Landshut and Munich ; 
Environs of Paris ; Rhine-Valley near Frei- 
burg ; Rocky Landscape near Kochel Lake ; 
The Staubbach near Riitli; Waterfall over 
Steep Rocks, Storm in Lech Valley, Land- 
scape with Mill near Pasing, View of Walchen 
Lake, New Pinakothek, Munich Gallery ; 
thirty-six Landscapes in Schleissheim Gal- 
lery ; Wood-Path (1817), National Gallery, 
Berlin.—Brockhaus, v. 493; Nagler, Mon., 
iii. 869. 

DORNER, JOHANN KONRAD, born at 
Ege, near Bregenz, in 1810, died in Rome 
in 1866. History, genre, and_ portrait 
painter, pupil of the Munich Academy 
under Cornelius ; went in 1835 to St. Peters- 
burg, where he painted mostly portraits, be- 
sides altarpieces, and was made member of 
the Academy ; returned to Munich and went 
in 1855 to Rome, where he acquired repu- 
tation through historical compositions and 
genre scenes. Works: Madonna with St. 
John ; another picture with Saints, Munich 
Gallery.—Allgem. d. Biogr., v. 354; Brock- 
haus, v. 494. 

DOROTHEA. See Fornarina. 

DOROTHEUS, Roman painter, Ist cen- 
tury a.p. Painted for the Emperor Nero a 
copy of the Venus Anadyomene of Apelles 
after the original had become impaired by 
time.—Pliny, xxxv. 36 [9]. 

DORPH, ANTON (LAURIDS JOHAN- 
NES), born at Horsens, Jutland, Feb. 15, 
1831. History, genre, and portrait painter, 
pupil of Copenhagen Academy under Mar- 
strand ; went to North Italy and Paris in 
1854, where he studied for a few months 
under Couture ; visited Holland, France, and 
Italy in 1859. Member of Copenhagen 
Academy in 1871. Works: Peasant Girl 
knitting (1854), Copenhagen Gallery ; Christ 
on the Cross (1858); Fishermen at Sorrento 
(1861); Street Scene at Sorrento (1862); 
Christ with Martha and Mary, St. Ste- 
phen’s, Copenhagen; Ascension, Trinity 


421 


DOSSI 


Church, ib.; Christ blessing the Children, | Ferrara (1864), 530, 605; Liibke, Gesch. 


HolmensChurch, ib. ; Give unto Ceesar! Christ 
and Disciples at Emmaus; Young Wife 
awaiting Husband’s Return (1867); Little 
Girls playing in the Downs (1868), Catch- 
ing Hornfish (1880), Copenhagen Gallery.— 
Sigurd Miller, 79; Weilbach, 135. 

DOSSI, BATTISTA. See Doss, Giovanni. 

DOSSI, GIOVANNI (Giovanni di Lutero, 
called Dosso Dossi), 


ital. Mal., ii. 8387 ; Lermolieff, 136 ; Zeitschr. 
f. b. K., x. 264, 269. 

DOU (Dov, Dow, Douw), GERARD, born 
at Leyden, April 7, 
1613, died there, 
buried, Feb. 9, 
\ 1675. Dutchschool; 
Y received first in- 
struction in draw- 


AEX born at Dosso, near ing in 1622 from 
Oe : Ferrara, about 1749, the engraver Bar- 
Uy - died at Ferrara in| “Ss tholomeus Dolen- 
Go) 1542. Lombardo-Fer- do, in 1624 appren- 


rarese school; scholar 
of Lorenzo Costa ; be- 
came a favourite of 
Duke Alfonso I. of 

Ferrara, for whom he 
painted a large picture, and an altarpiece, 
Cathedral of Ferrara, representing St. Bar- 
tholomew and St. John at Patmos (1527). 
Many of his works, in the Ducal Palace at 
Ferrara, were destroyed by fire in 1718. 
His brother Battista (died 1548), a noted 
landscape painter, assisted him in painting 
the Labours of Hercules, in the Cortile of 
this palace, a Madonna with Saints (1522), 
Cathedral at Modena, and frescos in the 
Castle at Trent, now destroyed. Ariosto, in 
the Orlando Furioso (xxxiii. 2), mentions 
the brothers together with Leonardo da 
Vinci, Mantegna, and Gian. Bologna. Dosso 
Dossi is said to have spent six years in Rome 
and five in Venice. Other works: Annun- 


ciation, Madonna with Saints, Ferrara Gal- 
lery ; Bacchanal, Palazzo Pitti, Florence ; 
Justice, Diana and Endymion, One of the 
Hours, Peace, the Four Doctors of the 
Church, a Dream, and Judith, Dresden Gal- 


of 


lery; Circe, Palazzo 
Borghese, Rome ; St. 
Sebastian, Brera, Mi- 
lan.—Vasari, ed. Mil., 
v. 96; Baruffaldi, Vite 
degli Artifici Ferraresi 
(Taddei, 1844); Seguier, 59; Rio, Art. Chré- 
tien, ili. 445 ; Cittadella, Notizie relative a 


ticed to the glass 
painter Kouwenhoven, and in 1628 entered 
Rembrandt's studio, where he remained 
three years. To Rembrandt he owed his 
harmonious treatment of the chiaroscuro 
and depth of colour, but his careful and 
delicate touch, which, especially in his por- 
traits, is incalculably minute, precluded the 
free and energetic treatment of his master. 
Choosing his subjects mainly from the nar- 
row circle of the family life of the middle 
and lower classes, he frequently represented 
them at dusk or by candlelight, with mas- 
terly skill. Works: Poulterer’s Shop, Ar- 
tist’s Portrait, Artist’s Wife, National Gal- 
lery, London; Girl scouring Pan, Girl 
chopping Onions, Grocer’s Shop, Old Woman 
watering Flowers, Portrait of Old Man, 
Buckingham Palace ; Violin Player (1637), 
Artist’s Portrait, Bridgewater Gallery ; Vil- 
lage Lawyer, Old Couple with Hurdy-Gurdy, 
Earl of Lonsdale, Lowther Castle ; Hermit 
Praying, Old Man in a Cellar, Ashburton 
Collection ; Young Girl at Window convers- 
ing with Boy, Man teazing with a lighted 
Candle Old Woman asleep, Hope Collection; 
Painter in his Room writing, Baring Col- 
lection, London; Lady playing Virginal, Dul- 
wich Gallery ; Dropsical Woman, Reading 
the Bible, Cook-Maid, Greengrocer, Trum- 
peter and 7 others, Louvre; Le Ménage, 
Young Woman with a Lamp at Window (2), 
Hermit (2), one dated 1664, Portrait Fig- 
ures in Landscape by Berchem, Old Woman 


422 


ait 
" 
i 
7 
g ? 
=. 
us 
bs 
: 
a 
ca 
; 


DOUCET 


fishing (1653), Evening School, National 
Museum, Amsterdam; Old Lady in Fur, 
Old Warrior, Cassel Gallery ; Artist’s Por- 
trait, Astronomer (1657), Old Man reading, 
Brunswick Museum; Penitent Magdalen 
(1638), Old Woman, The Store Room, Ber- 
lin Museum; Artist drawing in a Book, Ar- 
tist before Easel, Girl plucking Grapes, 
Artist playing Violin, Schoolmaster cutting 
Pen, Dentist, Hermit Praying, Young Girl 
watering Plant, Still Life, and 11 others, 
Dresden Gallery; Painter before Easel 
(1649), Charlatan (1652), Maid with Lan- 
tern at Window (1658), Artist’s Portrait 
(1663), Herring Seller (1667), Hermit in 
Prayer (1670), ten others, Old Pinakothek, 
Munich; Physician (1653), Old Woman 
watering Flowers, Vienna Museum ; Man 
Reading, Woman examining Money, Physi- 


cian and Old Woman, Herring Seller, Wo- 


man winding Yarn, Artist with Violin, Her- 
mit, Young Man Reading, Nude Girl beside 
Water, Young Woman about to Bathe, 
Young Man about to Bathe, Hermitage, St. 
Petersburg ; Artist's Portrait, Evening 


G.Dov 
&, &, 1638 


School, Cake Seller, Uffizi, Florence. At Nar- 
ischkine sale (1883), Fish Merchant, 50,000 


fr.; Frugal Re- ( 
past, 13,000 CD 
fr—Kugler Ov! y8 
(Crowe), Gs @ 
205; Ch. Blanc, 
Ecole hollan- Ae V 
daise ; Schnaase, Niederlindische Briefe ; 
Allgem. d. Biogr., v. 336; Dohme, lii.; Im- 
merzeel, i. 190; Kramm, ii. 359 ; Art Jour- 
nal (1881), 102 ; Wedmore, 152. 
DOUCET, LUCIEN, born in Paris; con- 
temporary. Figure and portrait painter, pu- 
pil of J. Lefebvre and G. Boulanger. Medal, 
$d class, 1879. Works: Adam and Eve 
(1877) ; Atala, Portrait (1878); Portraits 
(1879) ; do. (1880, 1882) ; Hagar (1883). 
DOUFFET (Doufeet, Doofeet, Duffeit), 


GERAERT, born at Liége, in 1594, died 
there in 1660. Flemish school ; history and 
portrait painter, pupil of Rubens. Wont 
in 1614 to Italy, where he devoted himself 
so entirely to tho study of the great Italian 
masters that the influence of Rubens is trace- 
able only in the warm flesh-tones of his well- 
drawn portraits. He returned home in 1622. 
Works: Pope Nicholas V. at Grave of St. 
Francis, Finding of Cross by Empress He- 
lena, Two Portraits (one dated 1624), Old 
Pinakothek, Munich ; Christ appearing to 
Apostles, Augsburg Gallery.—Biog. nat. de 
Belgique, vi. 150; Michiels, x. 118. 

DOUGHTY, THOMAS, born in Philadel- 
phia, July 19, 1793, died in New York, July 
24, 1856. Landscape painter, self-taught. 
Began the practice of art in 1820, after which 
he painted successfully in London, Paris, 
and the United States. Works: Scene on 
the Susquehanna; Old Mull; Delaware 
Water-Gap; Peep at the Catskills; View 
near Paris; View on the Hudson; Land- 
scape (Boston Atheneum); Landscapes 
(Academy of Fine Arts, Philadelphia) ; Wind 
Storm, Departure of Columbus from Palos, 
Mrs. J. Harrison, Philadelphia. 

DOUILLARD, ALEXIS MARIE LOUIS, 
born at Nantes, June 28, 1835. History 
and portrait painter; pupil in Paris of 
Hippolyte Flandrin, Gleyre, and Géréme. 
Medal, 3d class, 1878. Works: Christ on 
the Cross (1875), Palais de Justice, Paris ; 
Death of St. Louis (1881); Death of the 
First-born (1883) ; Education of the Virgin 
(1884), Church of Paimbeeuf; Portraits 
(1885). 

DOUVEN, JAN FRANS VAN, born at 
Roermonde in 1655, died in Diisseldorf in 
1727. Flemish school; portrait painter, 
pupil of Gabriel Lambertin.. Called to Diis- 
seldorf by the Elector Johann Wilhelm, who 
took him to Vienna and recommended him 
to the Emperor Leopold. Having success- 
fully painted the portraits of the Emperor 
and Empress, he received many orders from 
royal personages and nobles. His portraits 
of 3 emperors, 3 empresses, 5 kings, 7 queens, 


425 


DOUW 


and many princes are distinguished for col- 
ouring, conception, and likeness. Works: 
Susanna at the Bath, Bathsheba Bathing, 
portrait of Elector of Cologne, Cassel Gal- 
lery ; Portraits in Augsburg and Munich 
Galleries, in the Uffizi (5), and in Pal. Pitti 
(5), Florence. 


His son Barthol- F 2 ww 
omeus (born 
1688) painted 0 C41 


many portraits in his manner. Works: 
The Three Graces, female portrait, Cassel 
Gallery.—Immerzeel, i. 193. 

DOUW. See Dou. 

DOUZETTE, LOUIS, born at Triebsees, 
Pommerania, in 1834. Landscape painter, 
pupil in Berlin of Eschke ; was at first a 
house painter for five years, then painted 
flowers and small landscapes. In 1864 he 
visited Riigen and the Baltic coast, and in 
1865 Sweden. Works: Miller’s Farm by 
Moonlight, Midnight Sun at Tornea, Moon- 
light Night in Winter (1865); Village Smithy 
in Winter, Landscape near Séderham, Swed- 
ish Coast by Moonlight (1866) ; Farm-House 
after Storm, Moonlight on Ruins, Landscape 
in the Mark, At Forester’s House (1867-68) ; 
Winter Evening in the Woods (1875); Moon- 
light on Mill-Pond, Dutch Canal by Moon- 
light, Wood-Hut at Moonrise.—Meyer, 
Con. Lex., xviii. 252 ; Miller, 142. 

DOW (Douw), SIMON VAN, born in 
Antwerp about 1630, died there after 1677. 
Flemish school; landscape and animal 
painter; master of the guild in 1654. 
Works: Cavalry Skirmish in a Landscape, 
Liechtenstein Gallery, Vienna; Horse and 
Cattle Show, Schwerin Museum ; Landscape 
with Figures and Cattle (1671), Lille Muse- 
um.—Van den Branden, 1036. 

DOYEN, GABRIEL FRANCOIS, born 
in Paris in 1726, died in St. Petersburg, 
June 5, 1806. French school; history 
painter, pupil of Carle van Loo; obtained 
the grand prize in 1746, and in 1750 went 
to Rome, where he studied the works of 
Annibale Carracci, Lanfranco, and Pietro da 
Cortona, and thence to Naples, to study 


Solimena. Returned to France in 1755, be- 
came member of the Academy in 1759, and | 
professor in 
LTO s) ira 
1791 Catha- 
rine II. called 
him to St. 
Petersburg, 
where he was 
nominated 
professor at 
the Academy 
andcontinued 

in favor under Paul I. Works: Le Miracle 


des Ardents, St. Roch, Paris ; Death of St. 
phitrite, Louvre; Portrait of Crébillon, 
Rouen Museum; Study of a Head, Nantes 
Museum ; Virginia killed by her Father in 
the presence of Appius Claudius, Parma 
Parma; Triumph of Metellus, Andromache, 
Diomed 

4G. a $o ged (Prince Yous- 
soupof); and 

sia.—Ch. Blanc, Ecole frangaise, ii; Bellier 
de Chavignerie, i. 445; Lejeune, Guide, 
DOYEN, GUSTAVE, born at Festieux 
(Aisne), Dec. 29, 1837. Figure and por- 
Reverchon. Medal, 3d class, 1882. Works: 
Interrupted Reading (1875); Jealousy (1876); 
Musical Matinée, Portrait (1880); Joan of 
Arc, Bather (1881); The Old Woman (1882); 
DOYLE, RICHARD, born in London in 
1826, died there in 1883. Water-colour 
John Doyle (1797-1868), caricaturist. Is 
best known as a contributer of drawings to 


Louis, St. Eustache, Paris ; Triumph of Am- 
Musem ; Adoration of the Magi, Darmstadt 
Museum: Andromache and Astyanax, in 
Fighting 
‘7 _ others in Rus- 
iii. 82. ° 
trait painter, pupil of Bouguereau and of 
Contemplation (1878); The Lesson (1879) ; 
On the Bank of a Brook (1883). 
painter and caricaturist ; son and pupil of 
Punch and as a book-illustrator, but has 


also exhibited many water-colour drawings 


at the Grosvenor Gallery. Among those in — 


424 


ota” as. Seg fem 1 . 
Pet Pisa he tee 


NR Tat ee! 


ect 


Siig ap Sasa 


pas aad ee I 


aioe Se 


Mf 
£ 
j 


Pt ee ae Sos Bw 28 ae 


a 
= 


2 RES oe SAO EN te 8, Ge AEA ES 


DRAEGER 


1877 were: Dame Blanche, Ariel, Return of 
Dragon Slayer, Witch’s Home, Enchanted 
Tree, Haunted Park, Fairy Rings, Kelpie 
Stone, and Haworth Rectory. Other works: 
Rose-Red and Snow-White, Fish out of 
Water (1878); Pied Piper of Hamelin, 
Peace or War (1879); Battle of Elves and 
Frogs (1880); Sailor and Monkeys, Tri- 
umphal Entry of the Queen (1881); Welsh 
Legend (1882); Home of Charlotte Bronté, 
Schwein-General of Nassau (1883). 
DRAEGER, JOSEF ANTON, born at 
Tréves in 1800, died in Rome in 1848. 
History painter, pupil in Dresden of Ki- 
geloen ; went in 1821 to Italy and settled in 
Rome, where he painted religious and his- 
torical subjects with unusual glow and bril- 
liancy of colour, in imitation of the Vene- 
tian masters. Works: St. Matthew (1820); 
St. Cecelia; The Shepherds; The two Ro- 
man Women; Moses at the Well, National 
Gallery, Berlin.—Brockhaus, v. 519. 
DREBER, FRANZ, born in Dresden, 
Jan. 9, 1822, died at Articoli di Campagna, 
Rome, Aug. 3, 1875. Landscape painter, 
pupil of the Dresden Academy and of 
Ludwig Richter ; went in 1841 to Munich 
and later to Rome, where he settled, visit- 
ing Germany only temporarily in 1850-51 
and 1866. His name was really Karl Hein- 
rich, but he called himself Franz after his 
uncle and signed his pictures with that 
name. Works: Ravine with bathing Nymph ; 
Wood-Landscape ; Four Seasons, View in 
the Campagna; Sea-Shore with Nymphs; 
Psyche crowned by Eros; Ulysses by the 
Sea; Group from Saturnian Age; Land- 
scape with Diana’s Chase, Autumn in Sabine 
Mountains, National Gallery, Berlin ; Good 
Samaritan (1848), Dresden Gallery ; Sappho, 
Schack Gallery, Munich.—Allgem. d. Bioer., 
y. 385 ; Kunst-Chronik, xi. 681. 
DRESSLER, ADOLF, born at Breslau, 
March 14, 1833, died there, Aug. 7, 1881. 
Landscape painter, pupil in Breslau of Ko- 
nig and of Resch, and in Frankfort of the 
Staidel Institute under Jacob Becker ; after 
a trip to the Tyrol, settled in Breslau in 


1862. Honorary member of the Société 
belge des Aquarellistes in 1866. Professor 
in 1880, at the newly-created Art-school at 
Breslau. Works : Ideal Landscape ; Sylvan 
Solitude ; View of Capri ; Rothwasser Val- 
ley in the Riesengebirge ; View in the EKulen- 
gebirge ; River Landscape in Silesia; Flat 
Country on the Oder with Landing ; River 
Landscape in Midsummer.—Kunst-Chronik, 
xviii. 362. 

DREUX, ALFRED DE, born in Paris 
in 1812, died in March, 1860. Genre and 
portrait painter, pupil of Léon Cogniet. 
Became known chiefly through his hunting- 
pieces and animated though exaggerated rep- 
resentations of horses. Medals: 3d class, 
1834; 2d class, 1844, 1848; L. of Honour, 1857. 
Works : Interior of a Stable, Colt jumping 
a Ditch (1831); Alone at the Rendezvous; 
Race for a Kiss; Lady of the Castle (1847); 
Rich and Poor, Breakfast too Hot, Dog and 
Cat, Intimacy, The Return, The Death, Mar- 
tyrdom of St. Hippolytus, Battle of Baugé, 
Hunting with a Falcon, Time of Charles 
VIL, Imperial Guard (1855); Portraits of 
the Duke of Nemours on horseback, of 
Napoleon III. and others.—Ch. Blane, Ecole 
frangaise ; Lejeune, Guide, ili. 82 ; Gaz. des 
B. Arts (1860), v. 26. 

DROLLING, MARTIN, born at Ober- 
bergheim, near Colmar, baptized Sept. 19, 
1752, died in Paris, April 16, 1827. Genre 
painter ; formed himself without a teacher 
by studying the pictures of Dutch mas- 
ters, and painted a great number of fam- 
ily and conversation scenes in the style of 
Greuze, which were very popular. Works: 
Interior of a Kitchen (1815), Louvre ; Brok- 
en Pitcher ; Curious Treasure ; Village Fam- 
ily hearing a Letter Read ; Good Samaritan, 
Lyons Museum ; Little Commissionaire, and 


Drtling M. 


others, M. Burat, Paris ; Little Girl Draw- 
ing; Going to Market ; The Farmer ; The 
Good-Morning, Village Interior, Quilting 


425 


DROLLING 


(1795); Repentant Girl; Little Boy with 
Violin (1800).—Ch. Blane, Ficole frangaise ; 
Jal., 507 ; Lejeune, Guide, i. 386. 
DROLLING, MICHEL MARTIN, born 
in Paris, March 7, 1786, died there, Jan. 9, 
1851. History and portrait painter, son 
and pupil of Martin D.; then studied with 


Sa 
er Hi(ee ed s 


iw 


= a) 7 
ea ‘ a 2 = 
Ss ~ = 
~ > SS 
BY 1 f\\\ “= FY 
| Pete aU \ & ASI 3 
bi eZ rh a SS [is oe 
| = EIN ED. G — AB, = 
' SS : ir Ve 
SN? ee 
‘=, reef YEA 
i UAT i 4) FG Lo \} ( 
=< 
= ih. 
AY oN 


Dropsical Woman, Gerard Dou, Louvre. 
David, and after obtaining the grand prize, 
studied in Rome. Returned to Paris, he 
painted scenes from sacred and profane his- 
tory, graceful in composition, and correct 
in drawing. Member of the Institute in 
1833. He formed many excellent pupils— 
such as Breton, Chaplin, and Henner. His 
later and larger pictures are inferior to his 
earlier ones. Medals: 2d class, 1817; Ist 
class, 1819 ; L. of Honour, 1837. Works: 
Death. of Abel (about 1810, one of his best); 
Orpheus and Eurydice (gold medal, Salon, 
1819); Good Samaritan (1824), Lyons Mu- 


seum ; Ulvsses carrying off Polyxena (1827); 
St. Surin (St. Andrew, Bordeaux); Death of 
Richelieu (1831); Marie-Antoinette taking 
Communion (Expiatory Chapel in the Con- 
ciergerie); A large ceiling in the Louvre 
representing Law spreading its benefits over 
the Earth; Christ among the Doctors, — 
Notre Dame de Lorette.—Bel- 
lier de la Chavignerie, i. 447 ; 
Jal., 508 ; Larousse. | 
DROOCH-SLOOT (Droech- 
Sloot, Droogsloot), JOOST 
| CORNELISZ, born in Utrecht 
(?) end of 16th century, died 
after 1666. Dutchschool. Ad- 
mitted to St. Luke’s guild, 
Utrecht, 1616, its dean in 
1623. Painted historical and 
biblical subjects and land- 
scapes, but principally village 
festivals, which he enlivened 
with a great number of figures. 
Works: Troops passing 
through a Village (1645), Lou- 
vre; Kirmess (1649), Rotter- 
dam Museum; Duel between 
Lieutenant Gerhards and M. 
Briautés (1630), Vienna Mu- 
seum; Pool of Bethesda (1643), 
Brunswick Museum; Replicas 
in Antwerp and Berlin Muse- 
ums; Kirmess (1652), Dutch 
Village (1652), National Mu- 
} seum, Amsterdam; Frozen 
Canal in Holland, Hermitage, 
St. Petersburg; others in Museums of Ber- 
lin, Dresden, Cassel, and Madrid.—Archief. 


y. nederl. Kunstgesch., 11. 254; 
SY Burger, Musées, ii. 275; Im- 
merzeel, i. 197; Kramm, i1 

371; De Stuers, 33. 
DROPSICAL WOMAN (Femme hydro- 
pique), Gerard Dou, Louvre ; wood, H. 2 ft. 


426 


AD: ee pe ee, 


| Vin. x 2 ft. 1 in. 


_ daise. 


DROST 


In a lofty, handsomely 
furnished apartment, with a piece of rich 


_ ‘tapestry suspended from the ceiling and 
_ draped to one side, a group of four figures, in 


front of an arched window; a sick lady 
seated in a chair, her weeping daughter 
kneeling at her feet and holding one of her 
hands, a female attendant offering refresh- 
ment with a spoon, and a physician in purple 
silk robe, standing in foreground examining 
aurinal. Purchased for 30,000 florins by 
the Elector Palatine, who presented it to 
Prince Eugéne; after his death passed to 
House of Savoy and placed in Turin Gallery, 


_ whence transferred by French to the Louvre; 
on restoration of pictures in 1815 the French 
government redeemed it by payment of 100,- 


000 fr. Engraved by Fosseyeux; Claessens ; 
Chataigner.—Musée frangais ; Filhol, vi. Pl. 
367; Smith, i. 32; Ch. Blanc, Ecole hollan- 


DROST, GERAERT, born about 1638, 
died about 1690. Dutch school; pupil of 
Rembrandt, and painted in his manner, al- 


4 though somewhat exaggeratedly. Studied 


also in Rome. Works: Decollation of John 


4 Baptist, Amsterdam Museum ; Noli me Tan- 


gere, Cassel Gallery ; Man in Brown Coat, 
Old Man instructing Boy (?), Argus and 
Mercury (?), Dresden Gallery ; Argus and 
Mercury, Vienna Museum.—Kramm, ii. 372; 


s Vosmaer, Rembrandt, (1868), 163. 


DROUAIS, FRANCOIS HUBERT, born 
in Paris, Dec. 14, 1727, died there, Oct. 21, 
1775. French school; portrait painter, son 
and pupil of Hubert D.; continued his stud- 
ies under Nonnotte, Carle van Loo, Natoire 


. and Boucher, was received into the Academy 


in 1758, and later became court painter. 


‘He painted the royal family and many of the 


famous men and women of his time. Works: 
Portraits of Comte d’Artois, afterwards 
Charles X., and of Marie-Adélaide Clotilde, 


4 afterwards Queen of Sardinia (1763), Louvre; 


portraits of Louis de Bourbon, Louis XVHI., 


; 4 Louis XV., Mme. Dubarry, Comte d’Artois, 
~ Mme. Clotilde, and the sculptor Edmé Bou- 


chardon, Versailles Museum; portrait of 


Couston, Ecole des Beaux Arts; portrait of 
Prince Dimitri Galitzin (1762, engraved by 
J. Tardieu) ; portrait of Gen. Duhamel (en- 
graved by Moitte); portrait of Beaudieu de 
Laval, dancing teacher of the royal family; 
Mme. de Pompadour, Orleans Museum.— 
Ch. Blane, Ecole francaise ; Bellier de la 
Chavignerie, i. 448 ; Gaz. des B. Arts (1881); 
Villot, Cat. Louvre. 

DROUAIS, HUBERT, born at La Roque 
(Eure), May 5, 1699, died in Paris, Feb. 9, 
1767. French school ; portrait painter ; first: 
instructed by an obscure artist in Rouen, 
then by De Troy in Paris, and after the 
latter’s death was much employed by Jean 
B. van Loo, Alexis Simon La Belle, Oudry, 
and Nattier. He painted the Marquise de 
Pompadour several times, and benefited by 
her patronage. Works: Portrait of the 
painter Christophe, Ecole des Beaux Arts ; 


| portrait of the sculptor Lorrain, Versailles. 


—Jal, 508 ; Lejeune, ii. 286. 
DROUAIS, GERMAIN JEAN, born in 
Paris, Nov. 25, y 
1763, died in 
Rome, Feb. 13, 
1788. French 
school ; history 
painter, son and 
pupil of Fran- <= - 
cois Hubert D., i “FG hs 
then studied ~ AY Aah uC : AN 
with Brenet,and \ AS - 
in the school of SA 
David, where in 1784 he shietned the first 
prize and aroused enthusiasm by his Christ 
and the Canaanite Woman. Went to Rome 
with David and studied the antique and 
Raphael, but died suddenly after a few years. 
Works: Christ and the Canaanite Woman, 
Marius in Prison at Minturne, Louvre ; 
Wounded Gladiator, Rouen Museum; Phil- 
octetus in the Island of Lemnos, M. Goupil,. 
Paris; Departure of Tiberius Gracchus to 
demand the Execution of the Agrarian Law; 
portrait of Buffon, Narischkine sale (1883),. 
14,300 fr.; portrait of the Countess de Buf- 
fon, do., 15,600 fr.—Ch. Blane, Keole fran-- 


427 


DROUGHT 


gaise ; Villot ; Lejeune, Guide, iii. 82 ; Gaz, 
des B. Arts, Chronique, 1883. 

DROUGHT IN EGYPT, Jean Frangois 
Portaels, Corcoran Gallery, Washington; can- 
vas, H.9 ft. x 7 ft.8 in. Illustration of Psalms, 
Ixxviii, 44. Painted in 1873. Awarded 
the gold medal, Exhibition at Crystal Palace, 
Sydenham, for the best picture, without re- 
gard to school or subject.—Art Journal 
(1874), 30. 

DROVE AT THE FORD, William Hart, 
Corcoran Gallery, Washington ; canvas, H. 
4 ft. 6 in. x3 ft.2 in. A drove of cattle leay- 
ing a dusty road, at close of day, to cross a 
stream overarched by trees. Painted in 
1874. 

DRUMMOND, JAMES, born in Edin- 
burgh in 1816, died there, Aug. 12, 1877. 
History painter, pupil of Sir Wm. Allan ; ex- 
hibited first at Scottish Academy in 1835 ; 
became an A.S.A. in 1846, and S.A. in 1852; 
curator of National Gallery, Edinburgh, in 
1868. Works: Return of Queen Mary to 
Edinburgh after Surrender at Carberry Hill, 
James I. of Scotland seeing his Future Wife 
at Windsor, Porteous Mob, Montrose on 
Way to Execution, National Gallery, Edin- 
burgh ; Peace, War, Queen Victoria; Old 
Mortality, Cromwell in Edinburgh; Claver- 
house and Duke of Gordon (1865).—Red- 
grave. 

DRUMMOND, SAMUEL, born in Lon- 
don, Dec. 15, 1763, died there in August, 
1844. History painter, pupil of Royal 
Academy ; became an A.R.A. in 1808 ; after- 
wards curator of painting school. Works: 
Woodman (1801); Drunken Seaman Ashore, 
Crazy Jane (1804); Battle of Trafalgar ; 
Death of Nelson ; Admiral Duncan receiving 
Sword of Admiral De Winter, Greenwich 
Hospital ; Portrait of Sir Isambard Brunel, 
do. of Mrs. Fry, National Portrait Gallery ; 
Portrait of Charles Mathews, elder.—Red- 
prave. 

DUBBELS, HENDRIK, second half of 
17th century. Dutch school ; marine painter, 
of whose life so little is known that he alter- 
nately passes for the master and the scholar 


of L. Backhuysen. Painted sea-coasts, calms, 
and storms with great truth, masterly aerial 
perspective, beauty of lighting, and breadth 
are frequently attributed to Backhuysen. 
Works: River Landscape, Coast Scene, Na- 
tional Museum, Amsterdam; do., Palazzo 
ford, London ; Calm, Cassel Gallery ; Dutch 
Men-of-War, Copenhagen Gallery; Ship- 
c wreck and 
2 Lb bel Stockholm 

Museum; 

Marine 
Dresden Gallery.—Kugler (Crowe), ii. 500 ; 
Kunst-Chronik, xix. 424. 

DUBOIS, AMBROISE, born in Antwerp 
Jan. 29, 1614. Flemish school; history 
painter ; went to Paris in 1568, already an 
able artist, and was extensively employed by 
and the Luxembourg. Works: Charicles 
enduring the Test of Fire, Louvre ; The- 
agenes and Charicles, Fontainebleau; 14 
in which Louis XII. was born (dated 1600). 
—Ch. Blane, Ecole frangaise ; Fétis, Les Ar- 
Lejeune, i. 408. 

DUBOIS, CHARLES EDWARD, born 
in New York; contemporary. Landscape 
Paris. Sketched in Venice and Rome. 
Works: Cottages of Zeeland, Village of 
Auvernier (1873); Windmill near Dordrecht 
(1876); Morning on the Prairie, Autumn, 
Morning in Venice, Evening at East Hamp- 
ton (1878); Under the Olives at Mentone 


and softness of execution. His sea-pieces 
Pitti, Florence ; Marine View, Duke of Bed- 
St oes 

DvVBBEC Sas 
in 1548, died at Avon, near Fontainebleau, 
Henry IV. at Fontainebleau, in the Louvre, 
pictures in the Oval Room at Fontainebleau, 
tistes belges, & Pétranger, i. 359 ; Jal, 509 ; 
painter, pupil of Gleyre and Frang¢ais in 
—Netherlands ; Willows at East Hampton 
(1884); At the Foot of Monte Pelegrino—. 


428 


Pes eel a ais a 


RT eS ee LN 


: 
uZ 


DUBOIS 


Palermo, Ruins of Greek Theatre at Taor- 
mina—Sicily (1885). 

DUBOIS, FRANCOIS, born in Paris, May 
11, 1790, died there, Feb. 8, 1871. History 
painter, pupil of Regnault and of the Ecole 
des Beaux Arts; won the 2d grand prix in 
1817, and the Ist grand prix in 1819. He 
was a careful painter in a style now out of 
fashion, but he received many orders for 
pictures from the Government in his day. 
Medal, Ist class, 1831. Works: Themisto- 
cles with Admetus (1819); Clovis when a 
Child found by a Fisherman (1822), St. 
Louis landing at Damietta (1827), Amiens 
Museum; Marguerite d’Anjou taken by 
Brigands (1833), Angers Museum ; St. Luke 
releasing the Prisoners (1827), St. Leu, 
Paris ; Death of Manlius, Young Woman of 
Albano (1831); Distribution of Colours to 
the National Guard (1831), Coronation of 
Pepin the Short (1838), two portraits of 
French Marshals, Versailles Museum ; The 
Annunciation, Notre Dame de Lorette ; Bap- 
tism of Clovis, The Ascension of Christ (1859), 
ordered by the State.—Bellier de la Cha- 
vignerie, 1. 454 ; Larousse. 

DUBOIS, GUILLAM, died in Haarlen, 
buried July 7, 1680. Dutch school ; land- 
scape painter, whose manner is a mixture of 
that of Ruysdael and Everdingen. Master 
of the guild at Haarlem in 1646. His jour- 


ney through the Rhine provinces with Vin- 


cent Laurensz van der Vienne, in 1652-53, 
gave him subjects for numerous pictures. 
Works: Mountain Landscape, Berlin Mu- 
seum; another, Czernin Gallery, Vienna ; 
another, Stidel Gallery, Frankfort; Village 
on Seashore, Baron Speck von Sternburg, 
Liitschena, near Leipsic; View on Rhine, 
Dulwich Gallery.—Kugler (Crowe), ii. 481. 

DUBOIS, LOUIS, born in Brussels in 
1830, died there, April 28, 1880. Genre, 
landscape, and animal painter, among the 
most prominent followers of Courbet, though 
not his pupil, and the foremost representa- 
tive of the realistic school in Belgium. 
Works strongly resemble those of Jacob 
Jordaens. Works: Trinitarian Monk, Priest 


preparing for Mass (1857); The Storks (1860), 
Brussels Museum; Roulette, Choir-Boy 
(1860); Solitude, Landscape with Dead Roe 
(1868); Rice-Eater (1872); Eva, Healthy 
Country (1875); Billiard Player, The Scheldt, 
Landscape (1878); Flemish Interior, The 
Mill, Autumn in the Ardennes, Cranes and 
Ducks, Sunset, Sunrise on a Swamp, The 
Meuse near Dordrecht.— Brockhaus, v. 606 ; 


Meyer, Con. Lex., xix. 243. 


DUBOULEAU, JEAN AUGUSTE, called 
Dubouloz, born in Paris, Feb. 20, 1800, died 
there, Aug. 23, 1870. History painter, pu- 
pil of Gros, and of the Ecole des Beaux Arts, 
where he made eight unsuccessful attempts 
to win the grand prix. Medals: 3d class, 
1838 ; 2d class, 1840. Works: Louis XL 
Hunting, Quentin Durward and Master 
Pierre, Louis XI.’s Breakfast, Crillon’s Pi- 
ety, the Preacher of Pontoise, The Courage 
of a Peasant of Pontoise during King John’s 
Captivity, Christ on the Mount of Olives 
(1824 to 1840); The Temptation, May (1857); 
The Invasion (1861); The Tempters, The 
Call to Wake Up, Blind Man’s Buff (1863); 
The Pirates (1864); Vive les Brunes! Vive 
les Blondes! License destroying Liberty 
(1865); The Swing, A Rural Offence (1866); 
Sick Child, Jugglers (1868); Group of Chil- 
dren (1869); Little Bathers (1870); and a 
number of portraits.—Bellier de la Chavig- 
nerie, i. 458 ; Larousse. 

DUBOURCQ, PIERRE LOUIS, born in 
Amsterdam, April 25, 1815, died there in 
1873. Landscape painter, pupil at Hilver- 
sum of Jan van Ravenswaay, and at The 
Hague of Andreas Schelfhout; visited in 
1836-37 Belgium, Germany, Switzerland, 
North Italy, and France, in 1844-45 Italy 
and Sicily, and in 1846 Holland, England, 
France, and Germany. Works: View near 
Orléans; Inundation; Lake Albano; Ro- 
man Campagna; View on Isle of Jersey ; 
Cemetery at Baden, National Museum, Am- 
sterdam ; View near Rome, Museum Fodor, 
ib.—Miiller, 145. 

DUBREUIL, TOUSSAINT, born in Paris 
in 1561, died there, Nov. 22, 1602. French 


429 


DUBUFE 


school ; history painter, pupil of Freminet ; 
worked for many years in Paris, Fontaine- 
bleau, and St. Germain en Laye. Works: 
Jesus appearing to Mary Magdalen ; Descent 
of the Holy Spirit ; The Harth; Fire. The 
History of Ulysses, at Fontainebleau, begun 
by Primaticcio, was finished by Dubreuil.— 
Ch. Blane, Ecole francaise ; Larousse. 

DUBUFE, CLAUDE MARIE, born in 
Paris in 1790, died there, April 24, 1864. 
Genre and portrait painter, pupil of David. 
He was the last of David’s school, having all 
its faults with few of its good qualities ; but 
was as popular with the public as he was 
abused by the critics. Medal, Ist class, 
1831; L. of Honour, 1837. Works: Achilles 
protecting Iphigenia ; Roman Family dying 
of Hunger (1810) ; Christ allaying the Tem- 
pest (1819, St. Leu, Paris); Release of St. 
Peter (Chaillot); Apollo and Cyparissa 
(1822) ; Passage of the Bidassoa (1824) ; 
Birth of Duc de Bordeaux (1824), Orléans 
Museum ; Regrets, Memorials (1837) ; The 
Surprise (1828), National Gallery, London ; 
Nest of Tomtits (1831); Republic (1849) ; 
Bull and Cows (1852) ; Village Girls of Nor- 
mandy, Girl Bathing, Birth of Venus (1859) ; 
portraits of Louis Philippe, Queen of the 
Belgians, General Montesquiou-Fesenzac, 
Versailles Museum.—Bellier de la Chavig- 
nerie, 1. 461. 

DUBUFE, EDOUARD, born in Paris in 
1818, died in Ver- 
sailles, Aug. 11, 


ae i 

A ich 3 jA =a S 
4 poe y 
ey 


% 1883. History and 


< o ed 
\\ ye V St 
We =a ey 


Cyr. 
SN 


portrait painter, 
son and pupil of 
Claude Marie, stud- 
ied afterwards un- 
der Paul Delaroche; 
between 1841 and 
1846 he painted re- 
ligious pictures, but 
later confined him- 
self to portraits. Medals: 3d class, 1839 ; 
2d class, 1840, 1855, 1878 ; 1st class, 1844 ; 
L. of Honour, 1853 ; Officer, 1869. Works: 
Annunciation (1839); Miracle of Roses (1840); 


Poetry and Music (1840); Tobias (1841), 
Lisieux Museum ; The Three Cardinal Vir- 
tues (1842); Bathsheba (1844); Morning 
Prayer (1844), Tuileries, Paris ; Prisoner of 
Chillon (1846), Aix Museum ; Sleep (1866); 
Prodigal Son (1867); Death of Adonis (1877). 
Portraits of his Wife (1842); Jules Janin and 
Paul Gayrard (1846); Empress Eugénie 
(1855); Rosa Bonheur (1857); Congress of 
Paris (1857), Versailles Museum; Princess 
Mathilde, Duchess de Medina Ceeli, Marquise 
de Gallifet, Princess Ghika (1861); Robert- 
Fleury (1863); Gounod (1867); Gen. Fleury, 
Comte de Nieuwerkerke (1869); Medje 
(1872) ; Alexander Dumas, Jr. (1873); Phil- 
ippe Rousseau (1876), Emile Augier (1876), 
Luxembourg Museum.—Bellier de la Chav- 
ignerie, i. 461; Larousse, vi. 1,320; Mil- 
ler, 145; Meyer, Gesch., 390; Kunst-Chronik, 
xviii. 696 ; Vapereau. | 

DUBUFE, GUILLAUME, born in Paris ; 
contemporary. Genre and portrait painter, 
son and pupil of Edouard Dubufe ; student 
also of Mazerolle. Medals: 3d class, 1877 ; 
2d class, 1878. Works: Study (1877) ; 
Saint Cecilia (April, 1878) ; Music, Sacred 
and Profane (1882); A Nest (1884).— 
Zeitschr. f. b. K., xvi. 376. 

DUC. See Ducg. 

DUCCIO DI BUONINSEGNA, born in 
Siena about 1260, died after 13839. Sienese 
school ; the earliest great painter of Siena, 
where he is first heard of in 1282. In 1285 
he was in Florence, as records show that he 
then contracted to paint an altarpiece of the 
Madonna for 8. M. Novella, probably never 
executed, and in the autumn of that year at 
Siena, where he was appointed to fill an 
office, which he held until 1291. In 1301 
he began a Majesty for the chapel of the 
Public Palace of Siena, of which no record 
remains, and seven years later commenced 
for the Duomo the famous altarpiece by 
which he is best known. In 13810 it was 
carried by the rejoicing people in procession 
through the streets to be installed in its 
destined place. The panel, on one side of 
which was painted the Virgin enthroned 


430 


Ce 


EE Ae Pee RE Ce EI SRE RM Eo 


DUCHATEL 


with Saints, Bishops, and Angels, and on the 
other the Passion in twenty-eight subjects, 
was afterwards divided, and the parts hung 
one at each end of the transept. Preserving 
traditional types, Duccio gave the Madonna 
the hitherto unknown and afterwards char- 
acteristic grace of Sienese Madonnas, and 
treated attitudes, draperies, and proportions 
with a then novel approach to correctness. 
The scenes from the Passion show the same 
clinging to past forms, the same effort to 
follow nature, and convey a like impression 
of life and power imperfectly realized. The 
few other works of this remarkable painter 
are two pictures of the Madonna with Saints 
in the Siena Academy ; a Crucifixion, Ma- 
donna, and other subjects, belonging to the 
Queen of England ; a Madonna with Angels, 
Prophets, and Saints, National Gallery, Lon- 
don ; and the Preaching of St. John Bap- 
tist, and SS. Peter and Paul, Rambona Col- 
lection, Cologne.—C. & C., Italy, i. 40; Va- 
sari, ed. Mil, i. 653; Burckhardt, 491; 
Dohme, 2i.; Sienesische Malerschule ; L’Art 
(1878), iii. 151; Liibke, Gesch. ital. Mal., 1. 99. 
DUCHATEL (du ee) FRANS, born 
in Brussels in 
1616 or 1625, 4 
died there in & 
1694. Flemish WY 
school; genre 
and portrait 
painter, pupil 
and imitator of 
Teniers the 
younger. A so- 
journ in France } 
brought him un- Cem 
der the influence of Fa der Meulen. Good 
draughtsman and colourist. Works: Por- 
traits of a Cavalier and two other Persons, 
Louvre; Charles II. of Spain receiving 


a Duchatil pen® 


Homage (1668), Ghent Museum; Panorama 
of Valenciennes (1656), Antwerp Museum | 


(attributed to Teniers); Portrait of Flem- 
ish Nobleman, Berlin Museum.—Biog. nat. 
de Belgique, vi. 224; Ch. Blanc, Keole 
flamande; Gaz. des B. Arts (1862), x1i. 5, 
247. 

DUCHET. See Dughet. 

DUCIS, LOUIS, born in Paris, Nov. 1, 
1773, died March 2, 1847. French school ; 
history and portrait painter, pupil of David ; 
also studied in Italy. Medal, Ist class, 
1808; L. of Honour, 1832. Works: Hero 
and Leander, Orpheus and Eurydice, Origin 
of Painting (1808); Pyramus and Thisbe 
(1810, 1812); Tasso reading his Jerusalem 
Delivered, Captivity of Tasso (1814) ; Death 
of Tasso (1817); The Arts influenced by Love 
(4), Mary Stuart, Sculpture (1822); Bianca 
Capello and her Lover in Flight (1824); 
Captivity of Jeanne d’Are (1831); View of 
Paris from Pontneuf (1838); Mary Stuart 
and Rizzio, Portraits, Aix Museum; Van 
Dyck painting his First Picture, Lyons 
Museum.—Bellier de la Chavignerie, i. 465. 

DUCK (Duc, Le Duc, Van Duck), A. J., 
flourished about 1630-50, probably at Haar- 
lem. Dutch school; genre and portrait paint- 
er; formed himself under the influence of Dirk 
Hals; hitherto erroneously identified with 
Jan le Ducgq, the animal painter. Works: 
Guard-room, Marauders, Louvre; Stable, 
Portrait of an Officer (attributed to A. Pala- 
medes), National Museum, Amsterdam ; 
five pictures, Gotha Museum; three, Old 
Pinakothek, Munich; Foraging Soldiers, 
Berlin Museum; two portraits, Dresden _ 
Gallery ; do., Worlitz Gallery; Portrait of 
J. Asselyn, Stiidel Gallery, Frankfort ; Pict- 
ures in Carlsruhe, Cassel, Stuttgart, Wei- 
mar, Meiningen (2), Aschaffenburg, Schwe- 
rin (2), Copenhagen (2), Hamburg Galler- 
ies; do., Museum and Academy, Vienna ; 
Trictrac Players, three others, Liechtenstein 
Gallery, ib.; one at each, Czernin and 
Schénborn Galleries, ib.; do., National Mu- 
seum, Pesth; four, Hermitage, St. Peters- 
burg.—Bode, Studien, 133; Burger, Mu- 
gsées, ii. 245; Kramm, ii. 377; Meyer, Ge- 
milde ene! Mus., 127. 


431 


DUCKER 


DUCKER, EUGEN (GUSTAV), born at 
Arensberg, on the Isle of Oesel, Livonia, Feb. 
10, 1841. Landscape and marine painter, 
pupil of St. Petersburg Academy; obtained 
in 1862 the great gold medal, travelled 
through Germany, Holland, Belgium, France, 
and Italy, and settled in Diisseldorf, where, 
in 1872, he was appointed professor at the 
Academy. Works: Wood near Diisseldorf, 
Mill, Strand on Baltic Sea, View on Isle of 
Riigen, Konigsberg Museum; After the 
Rain, Swamp, Dry River-Bed, Storm, St. 
Petersburg Academy ; Evening Twilight in 
Riigen, National Gallery, Berlin.—Brock- 
haus, v. 612; Miller, 146. 

DUCORNET, LOUIS CESAR JOSEPH, 
born at Lille, Jan. 10, 1806, died in Paris, 
April 27, 1856. Born without arms, like 
Felu. History and portrait painter, pupil 
of Guillon-Lethi¢re and Gerard. In spite 
of his deformity he painted creditable pict- 
ures. Medals: 2d class, 1820; Ist class, 
1822. Works: Slave-Merchant (1833), Ar- 
ras Museum ; Marguerite consulting a Flow- 
er (1834); Apparition of Christ to Magdalen 
(1835); Death of Mary Magdalen (1840), St. 
André, Lille; Repose in Egypt (1841) ; 
Christ in the Sepulchre (1543); St. Denis 
preaching to Gauls (1846), St. Louis de I’Ile, 
Paris ; Vision of St. Philomela (1846); Nest 
of Tomtits (1848), Portrait of Gen. Régner, 
(1849), Lille Museum; Gloria in Excelsis 
(1850), Church of Auxy-le-Chateau ; Fair 
Edith finding Body of Harold (1855), Com- 
picgne; Parting of Hector and Andromache, 
St. Louis administering Justice, Lille Mu- 
seum.—Bellier de la Chavignerie, i. 467; 
Larousse. 

DUCQ, JAN LE, born at The Hague in 
1636 or 1638, died there in 1695. Dutch 
school; animal and landscape painter, sup- 
posed pupil of Paul Potter ; joined painters’ 
guild at Hague in 1658, and painted for ita 
Shepherdess and Cows ; also (1662) a Land- 
scape with Herd and Herdsmen is in the 
Cassel Gallery.—Westrheene, Life of Paul 
Potter, 123. 

DUCQ, JOSEPHUS FRANCISCUS, born | 


at Ledeghem, West Flanders, Sept. 10, 
1762, died in Bruges, April 9, 1829. Flem- 
ish school ; history and genre painter, pu- 
pil of Bruges Academy and of Suvée in Paris, 
where he obtained the first prize in 1792, 
and another later ; went in 1807 to Rome, 
six years later returned to Paris, and in 
1815 became professor at Bruges Academy, 
afterwards its director ; court painter, mem- 
ber of Antwerp and Ghent Academies ; Or- 
der of Lion. Works: Night and Daybreak, 
Meleager entreated by his Allies to save 
Calydon (1804); Devotion of a Scythian 
(1810); Antonello da Messina in Jan van 
Eyck’s Studio (1820); Angelica and Medoro 
(1820); Scipio receiving Envoys of Anti- 
ochus; Esther and Ahasuerus; School- 
master after Bion’s Idyl; Engraver Meule- 
meester at the Vatican, Artist’s Portrait ; 
Birth of Venus, Brussels Museum ; William 
I. of Netherlands, Van Gierdergom, Bruges 
Academy.—Biog. nat. de Belgique, vi. 238 ; 
Immerzeel, 1. 201. 
DUCREUX, JOSEPH, born at Nancy, 
1737, died on the road from St. Denis to 
Paris, July 24, 1802. French school; por- 
trait painter, pupil of De Latour, and inti- 
mate friend of Greuze; sent to Vienna in 
1769 to paint Marie Antoinette, to whom he 
became court painter. Member of Vienna 


D and Paris Acad- 
Ce emies. Excelled 
7 89 


in pastel. Works: 

Portraits of Jo- 
seph II. and of Maria Theresa, copies of 
pictures by other artists, miniatures.—Ch. 
Blane, Ecole francaise ; Bellier de la Chavig- 
nerie, 1. 468. 

DUEL AFTER THE MASQUERADE 
(Duel au sortir d’un Bal masqué), Gérdme, 
William T. Walters, Baltimore ; canvas, H. 
1 ft. 3in.x1 ft. 9in. A quarrel has taken 
place at a ball in Paris, and the masquers, 
without waiting to change their costumes, 
have adjourned at dawn to the Bois de Bo- 
logne to fight under the trees. It is winter, 
and the ground is covered with new-fallen 
snow. Pierrot has received a death-wound 


432 


4 
“4 
st 
cs 
= 
> 
WW 
> 
2 
z 
=) 
- 


DUEZ 


and has fallen into the arms of a friend 
dressed as the Duc de Guise, whilst two 
others, a Doge of Venice and a Black Domi- 
no, are offering consolation and aid. At 
the right, the Iroquois Brave, who has slain 
Pierrot, hurries with Harlequin toward the 
carriages in the background. Salon, 1857. 
Replica, with changes in composition and 
costumes, Duc d’Aumale, Chantilly. — Art 
Treas. of Amer., i. 88. 

DUEZ, ERNEST ANGE, oo in Paris, 
March 8, 1843. 
Genre painter, pu- 
pil of Carolus Du- 


ran. Medals: 3d 
class, 1874; Ist 
class, 1879; L. of 
Honour, 1880. 


Works: Honeymoon 
(1873); Splendour 
and Misery of Cour- 7 
tesans (1874); Whit- 
suntide Roses (1876); St. Cuthbert (1879), 
Luxembourg Museum; Evening (1881); 
Around the Lamp (1882): Miracle of the 
Roses (1884). 

DUFRESNOY, CHARLES ALPHON SE, 
born in Paris in 1611, died at Villiers-le- 
Bel, Jan. 16, 1668. French school; history 
painter, pupil of Perrier and Vouet. Went 
to Rome in 1633 and copied the finest paint- 
ings of the Farnese Gallery. His Latin di- 
dactic poem, De Arte Graphica, translated 
into several languages, brought him more 
into repute than his pictures. Went to Ven- 
ice in 1653, and returned to Paris in 1656 
to paint many altarpieces, a Salon in the 
Chateau du Raincy, and 4 landscapes on the 
ceiling of the Hétel d’Hervart. Works: St. 
Margaret, The Naiads, Louvre ; Armida de- 
serted by Rinaldo ; Drunkenness of Noah, 
Caen Museum ; Nymph seated near a River, 
Epinal Museum ; Portrait of Himself, Co- 
penhagen Gallery ; Death of Socrates, Flor- 
ence Museum ; Christ. 

DUGHET (Duchet, Duche), GASPARD, 
born in Rome in 1613, died there, May 25, 
1675. French school ; generally called Gas- 


pard Poussin, or le Guaspre. Landscape 

painter, pupil and follower of his cousin 
and brother-in-law, Nicolas Poussin, whose 
name he adopted. Later he became more 
individual in style. He worked very rap- 
idly, sometimes painting a large picture in 
asingle day. Works: Subjects from Life of 
Prophet Elias (frescos in 8. Martino 4 Monte, 
Rome); 6 Landscapes, Louvre; 2 others 
claimed for him by Ch. Blanc, but attributed 
to Van Bloemen by the authorities of the 
Louvre; Mercury, St. Mary in Egypt, For- 
est, Flight into Egypt, Palazzo Doria, Rome ; 
Landscape with Fishermen, Uffizi, Florence ; 
several landscapes, Palazzo Pitti, Florence ; 
Cascades of Tivoli, Turin Gallery ; View of 
Lake, Dresden Gallery; View of ‘Tivoli, 
Mountain Landscape, two others, Old Pin- 
akothek, Munich ; Tomb of Cecilia Metella, 
Storm, Bathers, Wood Landscape, Vienna 
Museum; 4 Landscapes, Cassel Gallery ; 
Sacrifice of Abraham, Dido and Aineas, Na- 
tional Gallery, London; 5 landscapes in 
Madrid Museum; 11 do. in Montpellier 
Museum ; two in Douai; one in Bordeaux 
Museum. In the Palazzo Borghese, Rome, 
are walls entirely painted by Dughet, and in 
the Palazzo Colonna, several friezes by him. 


ODS D: 


—Ch. Blane, Ecole francaise ; Burckhardt, 
Icelebri freschi di Gasp. Possino ; Larousse ; 
Villot, Cat. Louvre. 

DUJARDIN. See Jardin. 

DUMARESQ. See Armand-Dumaresq. 

DUMAS, MICHEL, born in Lyons, June 
18, 1812. History painter, pupil of Ingres; 
a skilful and intelligent painter, but lacking 
originality. Medals: 3d class, 1857 and 
1861; 1st class, 1863. Works: Parting of 
St. Peter and St. Paul (1853), Luxembourg 
Museum ; Devotion of Abbé Bouloy, Holy 
Women at Tomb, Mater Dolorosa (1857); 
Disciples at Emmaus (1859), Church of St. 
Louis d’Antin ; Our Saviour (1861); Glorifi- 
cation of St. Denis (1866), Notre Dame of 


433 


DUNCAN 


Clignancourt ; Temptation of Christ (1872); 
Our Lady of the Seven Troubles (1878). 

DUNCAN GRAY, Sir David Wilkie, South 
Kensington Museum; canvas, H. 2 ft. 1 in. 
x 1 ft. 9in. Called also The Refusal. Scene 
from Burns’s “Duncan Gray.” Meg, seated 
beside a table at left, refusing Duncan Gray, 
who is seated at right; behind her is her 
mother sitting, and her father standing. 
Exhibited at Royal Academy in 1814; bought 
by Lord Charles Townshend, who sold it to 
Mr. Sheepshanks. Mulready is said to have 
sat for Duncan Gray, and his father for the 
father of Meg. Meg herself is Wilkie’s sis- 
ter. Engraved by F. Engleheart.—Heaton, 
Works of Sir D. W. 

DUNCAN, THOMAS, born at Kinclaven, 
Perthshire, May 24, 1807, died in Edinburgh, 
May 25, 1845. Student in 1827 in Royal 
Scottish Academy, of which became a mem- 
ber in 1830 ; exhibited in Royal Academy, 
London, his Prince Charles Edward entering 
Edinburgh after Preston Pans (1840); Auld 
Robin Gray (1841), and Deerstalkers (1842); 
and elected A.R.A. in 1843. The first-named 
picture and his Prince Charles Asleep after 
Culloden, which are well engraved, are his 
best works.—Redgrave ; Ch. Blanc, Keole 
anglaise; Sandby, u. 213. 

DUNTZE, JOHANNES (BARTHOLO- 
MAUS), born at Rablinghausen, near Bre- 
men, May 6, 1823. Landscape painter, pu- 
pil of Munich Academy, then in Berlin of 
Krause and in 1851-55 in Geneva of Calame; 
studied then in Paris. In 1845, and again 
later, he visited Norway, Switzerland, Tyrol, 
and the Netherlands, and in 1856 settled in 
Diisseldorf. Works: Sogne Fjord (1860); 
Winter Landscapes with Architecture (1860); 
Lake in Norwegian Mountains. Others in 
Galleries of Hanover, Stuttgart, Berne, and 
Sidney, Australia.—Dioskuren, 1860, 146 ; 
Miller, 147. 

DUNWEGGE, HEINRICH, and VICTOR, 
16th century, in Dortmund about 1521. 
German school. Two able but second-rate 
painters of religious pictures. Works: Holy 
Kith and Kin, Antwerp Museum ; Triptych, 


Dominican Church, Dortmund (1521); Cru- 
cifixion, Minster Museum; Do not Bear 
False Witness, Town Hall, Wesel ; Predella, 
Parish Church, Calkar ; Crucifixion, Munich 
Gallery; Bewailing Christ, St. Maurice 
Chapel, Nuremberg ; Madonna, Darmstadt 
Gallery.—Liibke, Kunst in Westfalen, 360 ; 
W. & W., ii. 500; Forster, ii. 164; Kunst- 
blatt (1841), 102 ; (1843), 90. 

DUPAIN, EDMOND (LOUIS), born at 
Bordeaux, Jan. 13, 1847. Genre painter, 
pupil of Cabanel and Gué. 
class, 1875 ; Ist class, 1877. Works: Death 
of the Nymph Hesperis (1870); In the Arbor 
(1872); The Aged Hunter (1873); A Hunt- 
ress (1874); Youth and Death (1875); Sleep 
(1876); Good Samaritan, St. Gervais and St. 
Protais led out to Martyrdom (1877); Ex- 
port Duty at Bordeaux (1878); The Giron- 
dists Pétion and Buzot (1880); Springtime 
driving away Winter (1881); The Choice of 
Weapons, Adrift (1882); The Hard Road, A 
Parisian Woman (1883).—Montrosier, ii. . 

DUPPEL AFTER THE STORMING, 
Wilhelm Camphausen, National Gallery, 
Berlin ; canvas, H. 6 ft. 2 in.x9 ft. 4 in. 
The German Crown Prince, with his staff, 
rides upon the field after the storming of 
Diippel in the Schleswig-Holstein war, 
April 18, 1864, and congratulates Prince 
Frederick Charles on his victory. 

DUPRAY, HENRI LOUIS, born at Sedan 
(Ardennes), Nov. 3, 1841. History painter, 
pupil of Pils and of Léon Cogniet; ranks 
with Detaille and De Neuville as a leader of 
the new school of military painters. Medals: 
2d class, 1872; 3d class, 1874; L. of Honour, 
1878. Works: Cuirassier (1865); Marshal 
Ney at Waterloo (1869); Battle of Waterloo 
(1870); Marines of the Pothuan Division 
(1872); Visiting the Advanced Posts (1874); 
Regiment of Hussars going to the Front of 
a Convoy, Troops in the Market-Place of St. 
Denis (1876); Great Autumn Manceuvres, 
Light Artillery going into Position (1877); 
Arrival of the Staff (1878); A Capitalist 
(1879); A Horse Unshod (1880); Departing 
Incognito (1884).—Montrosier, 11. , 


434 


Medals: 3d — 


ao ee eet irae = * * 


PO Oy ee AE ON ee Teme TaN eka re 


sae ae 


DUPRE 


DUPRE, JULES, born at Nantes in 1812. 
Landscape painter, one of the most orig- 
inal and power- 
ful of the mod- 
ern French 
school,and 
among the orig- 
inators of the 
so-called Pay- 
sage intime. 
Medals: 2d 
class, 1833 and 
BGG (la. of 
Honour, 1849 ; 
Officer, 1870. Works: 5 landscapes (1831); 
Interior of a Farm-Yard, Views near Abbe- 
ville, Creuze, Indre, Corréze, and several 
English views (1835 to 1889); A Pasture, 
Entrance of a Village on the Moors, Sunset 
(1849 to 1852); Animals crossing a Bridge 
in Berry, Forest of Compiégne, The Gorge 
of Eaux-Chaudes, Sheepfold in Berry, Wind- 
ing Road in the Forest of Compitgne, The 
Sluice, Souvenir of the Moors, A Marsh in 
Sologne, Road on the Moors, The Willow- 
Trees, Return of the Herd, Water-course in 
Picardy (1867); Morning, Evening, Luxem- 
bourg Museum. Works in the United States: 
Landscape, Samuel Hawk Collection, New 
York ; Hay Wagon, Old Oak, Miss C. L. 
Wolfe, New York; Evening, A. Belmont, New 
York; Cows in the Pool, Scene near Fontaine- 
bleau, J. H. Warren, Hoosac Falls, N. Y.; 
Meadows with Stream, R. Hoe, New York ; 
Landscape, W. Rockefeller, New York; Land- 
scape, D. W. Powers, Rochester; Landscape, 
J. A. Brown, Providence ; Washerwomen, B. 
Wall, Providence ; Landscape, H. P. Kidder, 
Boston ; do., Mrs. H. E. Maynard, ib.; Mead- 
ow, Mrs. J. G. Fell, Philadelphia ; Three 
Landscapes, Marine, J. C. Runkle, New York; 
Landscape, J. D. Lankenau, Philadelphia ; 
Cows and Landscape, French Village, D. O. 
Mills, New York ; Landscape on the Seine, 
C. S. Smith, fe York ; Pond, R. L. Cut- 
ting, New York ; River Scene, Autumn Sun- 
set, Midday, Shepherd Boy, W. H. Vander- 
bilt, New York; Shepherd by Roadside, 


Landscape, Marine, A. E. Borie Collection, 
Philadelphia ; Landscape, H. C. Gibson, 
Philadelphia ; At Sea, Old Oak, Bright Day, 
W. T. Walters, Baltimore.—Gaz. des B. Arts 
(1873), vii. 190 ; L’Art (1879), 11. 311; iv. 241; 
Claretie, Peintres, etc. (1884), ii. 177; La- 
rousse, vi. 1415 ; Meyer, Gesch., 745. 
DUPRE, JULIEN, born in Paris, March 
17, 1851. Landscape and genre painter, 
pupil of Pils, Lehmann, and Laugée. Medals: 
3d class, 1880; 2d class, 1882. Works: 
Harvest (1876) ; Rye Mowers (1877) ; Sheaf 
Binders (1878); Aftermath, Gleaners (1879) ; 
Lucerne Grass Mowers, Gleaners (1880) ; 
Hay Harvest, In the Meadows (1881) ; In 


JULIEN DUPRE 1334 


the Pasture (1882), William Schaus, N. Y.; 
Shepherd (1883); Field in Normandy (1884); 
Escaped Cow, Mowing (1885). 

DUPRE, LEON VICTOR, born at Limo- 
ges (Haute-Vienne), June 18, 1816. Land- 
scape painter, brother and Sani of Jules. 
Medal of 3d class, 1849; Philadelphia Ex- 
hibition, 1876. Works: View in Berry 
(1870); Fay River, View near Argenton, 
Animals Drinking (1874); Banks of the 
Marne, Swamp in Picardy, Willows (1875) ; 
Pool in the Landes, Banks of the Oise (1876); 
Pool in Berry, Landscape (1878) ; Environs 
of Nemours, Chartres Museum ; View in the 
Marshes, Douai Museum. 

DUPRESSOIR, JOSEPH FRANCOIS, 
born in Paris, April 3, 1800, died March 6, 
1859. Landscape painter of moderate abil- 
ity. Medal, 2d class, 1838. Works: View 
near Chateaudun; Tower of Maurepas; 
Views in Dauphiné; Montfort Amaury ; 


Lupropsoi 1034, 


Battle of the Clan Quhele; View of Oisan in 
the Istre ; Battle of Rethel (1843), Versailles 


Museum. 
DUPUIS, PIERRE, born at Orléans, July 


435 


DURAN 


9, 1833. History, figure, and _ portrait 
painter, pupil of H. Vernet and L. Cogniet. 
Medal, 3d class, 1884. Works: Last Mo- 
ments of Francis II. (1865), City Hall, Or- 
léans; Zenobia rescued by the Shepherds 
(1867), Young Girl bitten by Reptile and 
rescued by her Brother, Orleans Museum ; 
Children surprised by Storm (1868) ; Dis- 
ciples at Emmaus (1869); Joseph and Poti- 
phar’s Wife (1874); Christ on the Cross 
(1875) ; Entombment, Meditation (1876) ; 
Bashi-Bazouks abducting Woman (1877) ; 
The Wave (1879); The Cup is Empty (1880) ; 
Portraits (1880, 1881, 1882) ; Mother play- 
ing with her Child (1883) ; Bathing Woman, 
Repose (1884) ; Rape of Psyche, Portrait of 
Henri Mercier (1885). 
DURAN. See Carolus-Duran. 
DURAND, ASHER BROWN, born in 
: South Orange, N. 
J., Aug. 21, 1796. 
Laudacat paint- 
er; prominent as 
an engraver until 
1835, when he 
turned his atten- 
tion to painting ; 
studied in Europe 
in 1840. One of 
original members 
of National Loaene and its president 
from 1845 to 1861. His earliest works were 
portraits. Works: Wrath of Peter Stuy- 
vesant ; Capture of André; Harvey Birch 
and Washington ; Forest Primeval; Fran- 
conia Mountains ; Dance on the Battery ; 
Alpine View, near Meyringen; In the Woods 
(1867), Jonathan Sturges, New York ; Tryst- 
ing Tree (1869), Benjamin H. Field, ib.; 
August Afternoon, L. Tuckerman, ib. ; 
Sketcher (1870) ; Close of Day (1871) ; Har- 
bour Island—Lake George (1873); Franconia 
Notch (1874)—Pemigewasset River, Scene 
in the Woods, R. L. Stuart, New York ; 
Thanatopsis, J. P. Morgan, ib.; Landscape, 
M. K. Jesup, ib.; Berkshire Hills, Hurlbut 
Collection, Cleveland ; Il Pappagallo, Brook 
Study, Studies from Nature (1876) ; Recol- 


lection of Adirondack Scenery (1880).—Shel: 
don, 128. 

DURAND, SIMON, born in Geneva; 
contemporary. Genre painter, pupil of 
Barthélemy Menn; subjects original, and 
mostly humourous. Medal, Paris, 3d class, 
1875. Works: Barber Shop, Permit to Stay 
(1873); Conjugal Dispute, Perplexed Brazier 
(1874); Marriage at the Mayor’s Office, 
Band of Vagabonds (1875); Marriage at 
Church (1876); A Market, Between Fruit 
and Cheese (1877); Acrobat’s Wounded 
Child (1878) ; An Alarm, Blacksmith’s Lei- 
sure (1879) ; Bonhomme Noél (1880) ; Birds 
of Passage, An Apprentice (1882) ; A Scan- 
dal (1883); Sentimental Tinker (1885). 

DURAND-BRAGER, JEAN BAPTISTE 
HENRI, born at Dol (Ille-et-Vilaine), May 
21, 1814, died in Paris, April 27, 1879. 
Marine painter, pupil of Gudin and Eugéne 
Isabey ; accompanied the fleet which carried 
Napoleon’s remains from St. Helena (1840), 
the expeditions to Tangiers, Mogador, Mada- 
gascar, and the Crimea, making many stud- 
ies and pictures. In 1865 he accompanied 
Napoleon IIL to Algiers as artist, and in the 
same year painted the review of the united 
French and English fleets near Cherbourg, 
Brest, and Spithead. Medal, 3d class, 1844; 
L. of Honour, 1844; Officer, 1865. Works: 
Fight between French Frigate Niemen and 
English Frigates Arethusa and Amethyst 
(1844), Bordeaux Museum; Conquest of 
Mogador (1845), Views (21) of Sebastopol 
during the Siege, 1854-55, Versailles Mu- 
seum ; Entry into Harbour of Marseilles, 
Battle of Lissa.—Bellier de la Chavignerie, 
i. 497; Meyer, Gesch., 753. 

DURCK, FRIEDRICH, born in Leipsic, 
in 1809, died in Munich, Oct. 25, 1884. 
Portrait and genre painter, pupil in Munich 
of his uncle, Joseph Stieler, and of the 
Academy ; travelled in 1836-37 in Italy, 
studying after the old masters in Florence 
and Rome. Since 1867 has been honorary 
member of the Munich Academy. Works: 
Portraits of Leuchtenberg Family, Louis I. 
of Bavaria, Oscar of Sweden (1849); His © 


436 


DURER 


Family, Emperor of Austria (1852); Louis 
Il. of Bavaria (1865) ; Count von Seinsheim, 
Baron von der Tann, New Pinakothek, Mu- 
nich ; Hebe with the Eagle, Aurora, Chil- 
dren in the Alps, South Kensington Museum; 
General Summons to Arms, Violin Solo 
(1855); Little Republican; Meran Shepherd- 
Boy ; Little School-Mistress ; Songs without 
Words; Evening Devotion.—Brockhaus, iv. 
668 ; Kunst-Chronik, xx. 106. 

DURER, ALBRECHT, born in Nurem- 
berg, May 21, 
1471, died 
there, April 6, 
1528. German 
school; history 
and portrait 
painter and en- 
graver. Son of 
a goldsmith, 
who first in- / 
structed him in } 
his trade, and 
then apprenticed him to the 
- Wolgemuth for three years and a half, after 
which (1490) he visited Strasburg, Colmar, 
Basle, and Venice, where he was much im- 
pressed by the works of Andrea Mantegna. 
Returning home about 1494, he married 
Agnes Frey, and probably worked in Wolge- 
muth’s studio until 1497, when he removed 
to an atelier of his own, where during the 
succeeding eight years he produced a large 
number of pictures, wood-cuts, and engrav- 
ings. From 1505 to 1507 he lived at Venice, 
where he was much esteemed as a painter, 


SAV) & y," 
eS 


ARS By 


; and though he lost none of his German 


spirit, felt the charm of the Italian Renais- 
sance masters, Bellini and Mantegna, whose 
influence he showed in his subsequent 
works. Then followed his most active years 
at Nuremberg. From 1512 he worked for 
the Emperor Maximilian, who made him his 
court painter, and whom he waited on at 
Augsburg in 1518 as deputy for his native 
city to the assembled Diet. In 1515 Nu- 
remberg assigned him a yearly pension of 
100 gulden. His visit to the Netherlands 


in 1521-22, undertaken for the sale of his 
engravings, brought him into contact with 
Lucas van Leyden, Jacopo de’ Barbari, and 
other artists, and introduced him to the 
Archduchess Margaret, for whom he worked, 
but whose favour he somewhat lost through 
his pronounced advocacy of Luther’s doc- 
trines. He attended the coronation of 


Charles V. at Aix-la-Chapelle, and obtained 


the appointment of court painter before his 
return to Nuremberg, where he continued 
to work until his death. Diirer never dealt 
with fresco, though he furnished the designs 
for the mural decorations of the City Hall at 
Nuremberg—the Calumny of Apelles, and 
the Triumph of Maximilian — probably 
painted by George Pencz. The works in 
oil and distemper from his hand are reli- 
gious subjects and portraits. Those in 
water-colour are Hercules and the Birds of 
Stymphalis (1500), in the German Museum 


’\ lat Nuremberg, an allegorical head (1507) in 


the Vienna Museum, and a Lucretia (1518) 
in the Munich Gallery. Works: Altarpiece 
with wings, except centre picture ; Christ 
on the Cross (1506), Christ bearing his 
Cross (1521), Dresden Gallery; Dead Christ, 
2? Baumgartner portraits (pendants belong- 
ing to an altarpiece), Christ bearing his 
Cross, SS. Paul and Mark, SS. Peter and 
John the Evangelist, Assumption of the Vir- 
gin, Munich Gallery ; Job, Stadel Institute, 
Frankfort; Drummer and Fifer, Cologne 
Museum; Saint with Glass Globe, Eugen 
Felix, Leipsic; Saints, landscape back- 
ground, Bremen Gallery; Virgin (1503), 
Vienna Museum; Adoration of Magi (1504), 
Madonna (1526), Uffizi; Feast of Rose-Gar- 
lands (1506), painted for the Church of 
St. Bartholomew, Venice, Norbertine Stra- 
how Convent, Prague (copies in Ambras 
Collection, Vienna, and Lyons Museum) ; 
Christ among the Doctors, Pal. Barberini, 
Rome; Madonna (1506), Marquis of Lothian, 
Scotland ; small Crucifixion (1506), Dresden 
Gallery ; Adam and Eve, Florence (Pitti), 
Mentz, and Madrid Museums; Martyrdom 
of the 10,000 (1508), Vienna Museum ; 


437 


DURR. 


Wings of the Heller altarpiece (1509), Frank- 
fort Museum ; The Trinity (1511), Madonna 
(1512), Vienna Museum ; Madonna, Prague 
Gallery; Madonna Cappani (1518), Berlin Mu- 
seum; portrait of Diirer’s father (1495 ?); do., 
Duke of Northumberland, England ; portrait 
of Diirer (1493), Eugen Felix Collection, Leip- 
sic ; do. (1498), Madrid Museum ; do. (1500), 
do. of Hans Diirer, of Wolgemuth, of Os- 
wald Krell (1499), Old Pinakothek, Munich ; 
do. of Hans Imhoff (1523), Madrid Museum ; 
of Joh. Kleberger, Vienna Museum ; copies 
of Diirer’s portrait of Jakob Fugger, Berlin 
and Munich Galleries; male portrait, Pal. 
Brignole Sala, Genoa; Bernard von Repen 
(1521), Dresden Gallery; Male portrait 
(1515), Czernin Gallery, Vienna; do. of 
Emperor Maximilian, Vienna Museum ; Eim- 
perors Charlemagne and Sigismund, German 
Museum, Nuremberg; Praying Virgin (1497), 
Augsburg Gallery ; bust portrait of a Sena- 
tor (1514), National Gallery, London ; por- 
trait of Senator Muffel (Narischkine sale, 
1883, 78,000 fr.).— W. & W., 11. 390; Dohme 
(Keane), 89; W. B. Scott, A. Diirer (1869) ; 
Grimm, A. Diirer (1873); M. Thausing 
(Katon), Diirer (London, 1882); Ch. Ephrus- 
si, A. Diirer (Paris, 1882); Mrs. Heaton, 
Life (1869, 2d ed. 1881) ; Woltmann, Aus 
vier Jahrhund., 28; Portfolio (1877), 2— 
182; Eastlake, Five Great Painters (London, 
1883); L’Art (1878), xiv. 151; Gaz. des B. 


Jp AA Pl AA 
_» INOS 

A. TIB.A,. A 

Albertus Diirer 1 $70 


Arts, vi 193. svi. 24) 74, 2283 avin 
196; xiii. 49; (1876), xiv. 255, 519; Art 
Journal (1883), 50; Forster, Gesch., ii. 275; 
do., Denkmale , VI. iii. 3, 18, 21; VIIL iii. 19; 
Zeitschr. f. b. K., iii. 81 ; viii. 284, 350; ix. 
254, 321; xii. 283, 382; xiv. 41. 

DURR, WILHELM, born at Villingen, 


Baden, May 9, 1815. History painter, pu- 
pil of the Vienna Academy and of Kupel- 
wieser ; went in 1840 to Italy, where, after 
a short stay in Venice and Bologna, he re- 
mained in Rome until 1843. After his re- 
turn he painted a series of large religious 
subjects, besides portraits and humourous 
genre scenes. Since 1852, Baden court 
painter; lives in Freiburg. Works: Ser- 
mon on the Mount; Christ blessing Little 
Children ; Ascension ; Four Evangelists ; St. 
Lawrence on Way to Martyrdom ; Baptism 
of Josiah; Sermon of St. Gallus on Lake 
Constance (1865), Carlsruhe Gallery and 
Cologne Museum ; Christ and the Children ; 
St. Boniface Baptizing ; Children’s Joys; The 
Almandin; Governor of Schopfheim.—Brock- 
haus, v. 674; Miller, 150. 

DURST, AUGUSTE, born in Parisin 1842. 
Genre, landscape, and still-life painter, pu- 
pil of EK. Hébert and Bonnat. Medal, 2d 
class, 1884. Works: Table Service, Still- 
life (1868); Kitchen Maid (1869); Rising of 
the Seine, Flowers (1874); The Seine at Pont 
de Neuilly (1880); Visit to the Farm (1881); 
Hens (1882); Turkeys (1883); The Siesta 
(1884); The Awakening, Spring Morning 
(1885). 

DUSART, CORNELIS, born in Haarlem, 
April 24, 1660, died there, Oct. 1, 1704. 
Dutch school; genre painter, excellent pu- 
pil and faithful imitator of Adrian van 
Ostade. His colouring is usually cooler in 
tone and also more varied than that of his 
master. Admitted to painter’s guild, Haar- 


lem, Jan. 10, 1679. Works: Wandering | 


Musicians, Village Inn, Fish Market Scene 
(1683), Amsterdam Museum ; Peasant F'am- 
ily, Antwerp Museum; Company of Peas- 
ants, Vienna Museum; do., Brunswick Mu- 
seum; Peasant Family, Peasants by the 
Fireside, Mountebank, Kunsthalle, Ham- 
burg ; Woman and Child (1679), Nine-Pin 


Players (1688), Peasants Fighting (1697), 


Dresden Gallery ; Peasants Carousing, Vir — 


438 


hc. 


DUTZCSCHHOLD 


enna Museum ; Drinkers, Venice Academy ; 
Peasant Family, Dulwich Gallery, and Mr. 
Baring, London; Donkey (1681); Grocer’s 
Shop, Peasant Family, Hermitage, St. Peters- 
burg.—Gool, ii. 457; Journal des B. Arts 
(1861), 107, 188; Kramn, ii. 383; Van der 
Willigen, 123. | 
DUTZCSCHHOLD, HENRI, born in 
Paris, Jan. 4, 1841. Landscape painter, 
pupil of Géréme and Veron. Medal, 3d 
class, 1882. Works: Inundation on Banks 
of the Loire (1872); Angling (1874); La 
Chartreuse and Fort Saint-André (1876); 
Return from the Spring (1877); In the Park 
of Arcueil (1878); Belle Rive, Fort Saint 
André (1879); Roman Ruins between Arles 
and Martignes, A Street at Villeneuve-les- 
Avignon (1880); At Meudon, At Villeneuve- 
les-Avignon (1881); The Marne (1882); Old 
Tree (1883); The Marne near Champigny 
(1884); The Marne from the Heights of 
Chenneviéres, The Marne and the Heights 
of Chenneviéres (1885). 
DUVAL-AMAURY. See Amaury-Duval. 
DUVAL LE CAMUS, JULES ALEXAN- 
DRE, born in Paris, Aug. 5, 1814, died there 
in 1878. History and genre painter, son of 
Pierre ; pupil of Drélling and Delaroche. 
Medals: 3d class, 1843; 2d class, 1845; L. 
of Honour, 1859. Works: Tobias and the 
Angel (1842); Lost Hunter, Breakfast at 
Marly, One of Rousseau’s Happy Days, 
Rousseau writing Héloise (1846); Happy 
Lovers, Bear and two Hunters (1853); Mac- 
beth and the Witches, Entombment (1855); 
- Flight into Egypt, Manon Lescaut (1857); 
Mail Forwarded (1859); Jacques Clément 
planning Murder of Henri HI. (1861), Lux- 
embourg Museum; Macbeth with the 
Witches, Alms of the Sea, Farewell, Three 
Pitchers at a Well (1861); St. Elizabeth of 
Hungary distributing Alms (1863); Martyr- 
dom of St. Lawrence (1867).—Bellier de la 
Chavignerie, i. 506 ; Larousse, vi. 1452. 
DUVAL LE CAMUS, PIERRE, born at 
Lisieux (Calvados), Feb. 14, 1790, died 
at St. Cloud, July 29, 1854. Portrait and 
genre painter, pupil of David; imitated 


the old Flemish masters, especially Jan 
Steen ; was for several years Mayor of St. 
Cloud and painter to the Duchesse de Berri. 
Medals: 2d class, 1819 ; 1st class, 1827; L. 
of Honour, 1837. Works: Game of Piquet 
(1819); Interrogatory, Signing the Contract 
(1822); Saying Grace, Little Peasants, The 
Little Sweeper (1824); Starting for the 
Chase, Blessed Bread (1827); Return from — 
School, Lying in Wait for Ducks (1831); 
Return from the City (1835), Orléans Mu- 
seum; Prayer during Storm, First Love 
(1836); Halt in the Chase, Love in the Vendée 
(1837); Wolf-Hunt (1838); Little Maraud- 
ers, Children Playing on Shore (1839); Wed- 
ding Presents, Departure of the Conscripts 
(1840); Benediction of Orphans (1842) ; 
Storm, First Step, the Hermit (1843); First- 
lings of the Crop (1844); Pifferaro giving 
Lesson to his Son (1845); Improvisatore, 
Hermit of Mont Cassin (1846); Travelling 
Saleswoman (1848); Fishmonger (1852) ; 
Baths of Trouville (1853); Answering a 
Letter, Cherbourg Museum; Fishermen at 
Trouville, male portrait, Lisieux Museum ; 
Interior, Bordeaux Museum.—Bellier de la 
Chavignerie, i. 505; Larousse, vi. 1452; 
Meyer, Gesch., 160. 

DUVAUX, JULES ANTOINE, born in 
Bordeaux in 1818, died in Paris in July, 1884. 
Military, genre, and battle painter, pupil of 
Charlet; he contributed many sketches 
and lithographs to illustrated papers. Medal, 
2d class, 1848. Works: Charge of Cuiras- 
siers at Valmy (1848); Battle of Monte- 
Legino (1849); Assault of Plateau of Haie- 
Sainte (1850); Battle of Velisy (1852), Inci-_ 
dent of Storming of Sebastopol (1857), Ver- 
gailles Museum; Prince Jérdéme at Assault 
of Chateau of Hougoumont (1859); Souve- 
nirs of Sicily, Little Stable Boy, Return 
from Market (1863); The Fan, Arquebusier 
of Time of Louis XIII. (1864); Muff, Lady 
(1865); Battle of Borrego (1866); Dogs Har- 
nessed (1868); Dying Cuirassier (1869) ; 
Battle of Col de Maya in 1813, Death of 
Col. S. at Magenta (1870); Battle of Grave- 
lotte (1874); Battle of Loigny, Passing the 


439 


DUVEAU 


Ford, Arquebusier (1875); Interior of Sta- 
ble (1877); Citizen Chief of a Demi-Brigade 
(1878); Incident of Aug. 6, 1870, Souvenir 
of Italy in 1860 (1879); Incident of Battle 
of Rivoli (1882); Regiment passing through 
Forest (1883); An Information (1884). 
DUVEAU, LOUIS JEAN NOOL, born 
at St. Malo (Ille-et-Vilaine), Dec. 25, 1818, 
died in Paris, May 26, 1867. Genre paint- 
er, pupil of Cogniet. Medals: 3d class, 
1846 ; 2d class, 1848 ; medal, 1864. Works: 
Day after Storm in Brittany (1846); Breton 
Emigrants stopped by Republicans (1848); 
Abdication of Doge Foscari (1850); Wrecked 
Fishermen (1852); Death of Agrippina 
(1853); The Vacant Cradle (1855); Return 
of the Pardon of St. Anne (1859); Death of 
Claudius (1863), Mass at Sea (1864), Rennes 
Museum.—Bellier de la Chavignerie, i. 507. 
DUVENECK, FRANK, born at Coving- 
ton, Ky., Oct. 9, 1848. Figure painter, 
pupil of Diez and of the Munich schools for 
ten years. Studioin Venice. Works: A Cir- 
cassian (1875); portrait of Chas. Dudley 
Warner, Turkish Page (1877); Coming 
Man, Interior of St. Mark’s—Venice, Italian 
Girl, The Professor (1878); Portrait (1879); 
Head of Young Man (M. Brimmer, Boston). 
—Am. Art Review (1881), 3. 
DUVERGER, THEOPHILE EM- 
MANUEL, born at Bordeaux, Sept. 17, 
1821. Genre painter. Medals: 3d class, 
1861, 1863 ; medal, 1865. Works: Insanity 
of Charles VI. (1848); Said in Jest (1853) ; 
Tears at the Fireside (1855); The Visit, 
Party at Grandmother’s (1857); Nurse’s 
Visit, Washerwoman (1859); Grandfather’s 
Platter, Waiting, Charitable Ladies (1861); 
Last Sacraments, Gypsies (1863); Hide- 
and-Seek, Reticence (1864); Paralytic, La- 
bourer and his Children (1865), Luxem- 
bourg Museum ; Penitent Girl (1866); Con- 
firmation in Church of Villiers-le-Bel (1867) ; 
Empty Cradle, First Frolic (1868) ; Mater- 
nal Solicitude, Filial Care (1869); Vice and 
Misery, Labour and‘ Happiness (1870); The 
Whippersnappers (1872); Silence (1873) ; 
When the Cat is away the Mice will Play 


(1874); Returning from Market (1875); Toa 
Much Gratitude (1876) ; Grandmother’s 
Party, Orphans (1879); In Reserve, Clown 
(1880); Poacher, Before Mass (1881); Little 
Bears (1882); Whoever Seeks shall Find 
(1883) ; Market Scene, The Dolls (1884) ; 
The Nest, In Receipt (1885). 

DUYSTER (Duster), W.C. Dutch school; 
genre painter ; in his best works approach- 
ing Pieter Codde. Works: Brawl between 
Soldiers, Dresden Gallery; Game of Trictrac, 
Hermitage, St. Petersburg; Brawl in a 
Barn, Stockholm Museum.—Bode, Studien, 
161. 

DYCE, WILLIAM, born at Aberdeen in 
1806, died at Streatham, Feb. 15, 1864. 
Son of a physician and graduate of Mari- 
schal College; in 1823 entered schools of 
Royal Scottish. Academy, and afterwards 
studied in Rome and Florence. In 1827 ex- 
hibited at Royal Academy his Bacchus 
nursed by the Nymphs. After his second 
visit to Italy, settled in Edinburgh in 1830, 
and won success as a painter of portraits 
and historical subjects. In 1836 his De- 
scent of Venus attracted much notice; he 
removed to London in 1844, and in the 
same year was elected an A.R.A., and in 
1848 R.A. In 1848 he was chosen to deco- 
rate the Queen’s Robing-Room in the Houses 
of Parliament, and began, but did not finish, 
a series of frescos illustrating the legend of 
King Arthur. He also executed a series of 
frescos in All Saints, Margaret Street, Cay- 
endish Square. He was a well-trained mu- 
sician and a scholarly writer on art and sci- 
entific subjects. Among his other easel 
pictures are: King Joash shooting the Ar- 
row of Deliverance (1844); Jacob and Rachel 
(1853); St. John leading Home the Virgin 
(1860) ; and George Herbert of Bemerton 
(1861). — Redgrave ; Art Journal (1860), 
293 ; Frescos in Houses of Parliament (8vo, 
London), from Br. Quarterly, July, 1864 ; 
Sandby, ii. 183. 

DYCK, HERMANN, born in Wirzburg, 
Oct. 4, 1512, died in Munich, March 25, 1874. 
Architecture and genre painter; studied 


440 


DYCK 


from 1835 in Munich, was for years a re- 
nowned contributor to the Fliegende Blat- 
ter, and in 1854 was appointed director of 
the Art School of Industry. Works: Forti- 
fication of Kehlheim, Convent Kitchen, 
- Destroyed Village, At the City Wall of 
Erding (1857); Cashier’s Room (1858) ; 
Writing Room (1860); In the Granary 
(1860); In the Studio (1861) ; Church In- 
terior (1863); Delegation (1864) ; Burgo- 
master’s Return Home (1868).—Allgem. d. 
Biogr., v. 508 ; Brockhaus, v. 686 ; Kunst- 
Chronik, ix. 464. 

DYCK,. ANTON VAN (Sir Antony Van- 
dyck), born in Ant- Pe 
werp, March 22, 1599, 
died in London, Dec. 
9, 1641. At ten years 
of age he was appren- 
ticed by his father, 
Francis Van Dyck, 
linen draper, to Hen- 
drik Van Balen, and 
at sixteen he entered 
the studio of Rubens 
as his pupiland assist- 
ant. Employed by this great master to pre- 
pare black and white drawings from his pic- 
tures for the use of the engravers who worked 
under his eye, and to make cartoons from 
his sketches, of which the history of Darius 
in the Liechtenstein Gallery at Vienna may 
be taken as an example, Van Dyck’s talent 
developed with astonishing rapidity. The 
esteem in which Rubens held him showed 
itself in numerous acts of kindness, as in 
1620, when he procured him a commission 
from the Jesuits to paint an altarpiece for 
their church; in 1621, when he presented 
him to the Countess of Arundel, through 
whom he obtained access to James I., whose 
portrait he painted at Windsor ; and in the 
autumn of the same year, when he sent the 
Chevalier Varni with him to Italy, and gave 
him a horse for the journey. Van Dyck 
reached Rome in February, 1622, but it was 
not until the following year, after he had 
visited Florence, Bologna, Venice, and Man- 


tua, that he took up his residence there, and 
made himself known by painting the admir- 
able portrait of Cardinal Bentivoglio, now 
one of the gems of the Pitti Gallery. Its suc- 
cess, and Van Dyck’s love of display, excited 
the jealousy of his brother artists, who made 
Rome so intolerable to him that he left it 
for Genoa in June, 1624, and remained there 
until the next year, when he returned home. 
At Antwerp he found enemies who decried 
him, and waited for commissions, until Ru- 
bens bought several of his pictures and set 
the tide running in his favour. To this time 
belong the Crucifixion, in the Church of 
Notre Dame at Termonde, the St. Sebastian, 
at Munich, and the portrait of the Arch- 
duchess Clare Eugenie, in the Gallery at 
Turin. After an unsuccessful visit to Eng- 
land (1627), where he failed to obtain pres- 
entation at court for want of favour with 
the Duke of Buckingham, Van Dyck lived 
for three years at Antwerp and Brussels, 
painting many religio-historical pictures and 
portraits, and etching ten admirable por- 
traits of painters, which are yet unsurpassed. 
Meanwhile, one of his friends had given his 
Rinaldo and Armida to Charles I, who was 
so delighted with it that in 1630 he invited 
the painter to England. In April, 1632, Van 
Dyck obeyed the summons, and after he had 
been presented to the King by Sir Kenelm 
Digby, painted his portrait, that of the 
Queen, and the great picture of the Royal 
Family, now at Windsor. In July he was 
knighted, and appointed court painter, and 
in October, 1633, had a pension of £200 a 
year assigned to him. During the next nine 
years he painted 19 portraits of the King, 
17 of the Queen, as well as many of their 
children, at a fixed price of £50 for half, and 
£100 for full-length figures. Living in a 
style of splendour far beyond his means, Van 
Dyck became more and more embarrassed 
as the troubles of Charles’ reign thickened, 
until, in 1638, he presented his unpaid claims 
to the King, including his pension for the 
past five years, payment for many portraits, 
and for four cartoons prepared for tapestries 


441 


DYCK 


at Whitehall, which he valued at the enor- 
mous sum of £80,000.. These claims were but 
partially satisfied when he went to France 
in 1641, hoping to obtain the commission to 
paint the galleries at the Louvre, which was 
given to Poussin through the influence of 
the Cardinal de Richelieu. Disappointed, 
and in broken health, he returned to Eng- 
land via Antwerp. On the 1st of December, 
the birthday of his daughter, Giustiniana, 
he made his will, and on the 9th he expired. 
He was buried in St. Paul’s Cathedral. For 
noble use of colour, high-bred elegance of 
style, and facility, Van Dyck ranks as one of 
the first of painters. In portraiture he was 
not surpassed by any great master north or 
south of the Alps, though in historical and 
sacred subjects by many ; for in such, as a 
rule, his conceptions are superficial and 
scenic, rather than profound and natural. 
Works: portrait of Charles 1., do. of Rubens, 
do., of C. van der Geest, do. of himself, Am- 
brose and Emperor Theodosius (copy of 
Rubens), Miraculous Draught of Fishes, 
National Gallery, London; portrait of Charles 
I., Children of Charles I. (2), Charles I. and 
Family, Henrietta Maria, Sir Kenelm Digby, 
Lady Venetia Digby, Charles IL, Countess 
of Carlisle, Duke of Buckingham, Thomas 
Carew and Sir William Killigrew, Duke of 
Gloucester, and others, Windsor Castle; 
Christ healing the Paralytic, Pietad, St. Se- 
bastian, Charles I., Hampton Court ; Earl of 
Pembroke, Madonna, Dulwich Gallery; St. 
Sebastian, Lomellini Family, Nobleman in 
Armour, Study, National Gallery, Edin- 
burgh ; Pembroke Family, Wilton House ; 
Rinaldo and Armida, Duke of Newcastle ; 
Deedalus and Icarus, portrait of Duke of 
Neweastle, do. of Lady Venetia Digby, do. 
of Karl of Bristol, do. of Countess of Bed- 
ford, Earl Spencer; Bolingbroke Family, 
Earl of Morley ; Charity, Earl of Lonsdale ; 
Madonna with St. Catherine, Grosvenor 
House, London; Sir Kenelm Digby, Wing- 
field Digby, Esq., Sherborne; Madonna, 
Madonna and Donors, Venus and Vulcan, 
Rinaldo and Armida, portrait of Charles L, 


Children of Charles I., Francisco de Mongada, 
Charles Louis of Bavaria, Isabel of Austria; 
Duke of Richmond, himself, and others, 
Louvre; St. Jerome, Christ crowned with 
Thorns, Virgin of Sorrows, Betrayal of Christ, 
Diana and Endymion, portraits of David 
Ryckaert, Don Fernando of Austria, Count- 
ess of Oxford, Prince of Orange, Princess 
of Orange, Charles L, and others, Madrid 
Museum ; Christ on the Cross (2), Entomb- 
ment, Antwerp Museum; Crucifixion, St. 
Jacques, Antwerp; St. Augustine in Eestasy, 
St. Augustine, ib.; Crucifixion, Cathedral at 
Mechlin; Crucifixion of St. Peter, Satyr, 
portrait, Brussels Museum ; Children : of 
Charles I., portrait, Amsterdam Museum ; 
portraits, Hague Museum ; Christ crowned 
with Thorns, Pietaé, Descent of Holy Ghost, 
Repentant Sinners, Two Saints, John, St. 
Peter, portrait of Prince Thomas of Ca- 
rignan, Berlin Museum ; Madonna, portrait, 
Brunswick Gallery ; Family Group, six por- 
traits, Cassel Gallery; St. Jerome, Danaé, 
Silenus, portraits of Charles IL, Henrietta 
Maria, Children of Charles I., Martin Ryck- 
aert, Thomas Parr, and others, Dresden 
Gallery; Holy Family, Madonna with St. 
John, St. Sebastian, Pietd (2), Christ on the 
Cross, portraits of Maria de’ Medici, Ales- 
sandro Scaglio, Count John of Nassau, Gus- 
tavus Adolphus, Wallenstein, and others, 
Munich Gallery; Christ on the Cross, Ma- 
donna with Saints, Venus and Vulcan, Sam- 
son and Delilah, Holy Family, Virgin and 
Donor, Magdalen,and many portraits, Vienna 
Museum ; Pieta, portraits of Wallenstein, 
Duke Albrecht of Austria, and others, Liech- 
tenstein Gallery, Vienna; Holy Family, In- 
credulity of Thomas, St. Sebastian, portraits 
of Charles I, Henrietta Maria, William of 
Orange, Archbishop Laud, Earl Danby, In- 
igo Jones, and others, Hermitage, St. Peters- 
burg; Cardinal Bentivoglio, Charles I and 
Henrietta Maria, Repose in Egypt, Palazzo 
Pitti, Florence ; portrait of Charles V., do. 
of John Montfort, Uffizi, ib.; Brignoli Fam- 
ily, Palazzo Brignoli, Genoa; Madonna and 


St. Anthony of Padua, portraits, Brera, Mi- 


442 ' 


ea aaltes 


DYCK 


lan; Holy Family, Accademia di S. Luca, 
Rome; Christ on Cross, Entombment, Pa- 
lazzo Borghese, ib.; Madonna, Palazzo Cor- 
sini, ib.; Children of Charles I, Princess 
Isabel of Spain, Prince Thomas of Savoy, 
Holy Family, Turin Gallery ; Crucifixion, 
portrait of Charles I., do. of a Lady, Histori- 
cal Society, New York. —Guiffrey, Van Dyke, 


Athan 


Dy he 
A‘ VANDYCK. 


ga vie et son ceuvre (Paris, 1882); Michiels, 
Van Dyck et ses éléves (Paris, 1882) ; Car- 
penter, Memoirs (London, 1844) ; Wibiral, 
Iconographie de Van Dyck (Leipsic, 1877); 
Dohme ; Rendell, Van Dyck (London, 1881); 
Ch. Blanc, Ecole anglaise ; Gaz. des B. Arts 
(1881), xxiv. 504; Graph. K., i. 69; iv. 89; 
Kunst-Chronik, xix. 712; Zeitschr. f. b. K., 
v. 304, 366 ; vi. 264; xi. (Mittheilungen, lv. 
8); xii. 388 ; xvii. 193 ; xviii. 316. 

DYCK (Dijk), PHILIP VAN, called the 
Little Van Dyck, born in Amsterdam, Jan. 
10, 1683, died at The Hague, July 2, 1753. 
Dutch school ; portrait and genre painter, 
pupil of A. Van Boonen. He worked for 
some time at Amsterdam, The Hague, Mid- 
dleburg, and as court painter to Landgraf 
of Hesse in Cassel, where he founded the 
gallery. Painted also mediocre biblical 
pictures. His genre pieces in the manner 
of Gerard Dou and Mieris are very Sais 


Works: Ju- 
Dyk. fir /72 8. 


dith (1726), 
Lute-Player, 
The Toilet, Bookkeeper, National Museum, 
Amsterdam ; Lady at Toilet, Brussels Muse- 


um; Lute-Player (1727), Drawing Lesson 
(1728), Berlin Museum.—Kugler (Crowe), 
ii. 540; Ch. Blane, Ecole hollandaise ; De 
Stuers, 27. 

DYCKMANS, JOSEPH LAURENS, born 
at Lier, Belgium, Aug. 9, 1811. Genre 
painter, pupil of Thielemans and Vervoort, 
then of Wappers; his pictures, mostly on a 
small scale, together with the similarity of 
subjects, won him the surname of the Bel- 
sian Gerard Dow. In 1841-54 he was pro- 
fessor at the Antwerp Academy, and in 1870: 
was made member. Works: Declaration of 
Love (1834); Paternal Lesson (1835); Play- 
ing at Chequers (1836); Piano Lesson (1837); 
Household Account (1838); Lace Maker 
(1839); Vegetable Market (1840); Grand- 
mother’s Fairy Tale (1841); Spinning Maid-. 
en (1842); Embroideress (1843); Old Wo- 
man Sewing (1843); Old Woman plucking 
a Hen (1844), Museum Fodor, Amsterdam ;. 
Reading the Bible (1845); Lady of Fashion 
(1846); Rigolette (1847); Old Lace-Maker 
(1848), Blind Beggar (1852), Antwerp Mu- 
seum; The Mari sonece (1854); Dressing 
the Bride, Sailor’s Widow (1855); Motherly 
Love (1856); Expectation (1858); Occasion 
makes Thieves (1860); Magdalen at the 
Cross (1862); Spring (1870); Grandmoth- 
er’s Birthday (1871), South Kensington Mu- 
seum ; Old Woman Praying (1872); Magda- 
len Penitent (1873); The Divided Breaktast, 
Child Lost in the Woods (1874); Street- 
Singer, Good News, Siesta, Young Shep- 
herdess (1878); The First Born (1879).— 
Brockhaus, v. 686 ; Miiller, 150. 

DYER, CHARLES GIFFORD, born in 
Chicago, IL, in 1846. Landscape painter, 
pupil of Jacquesson de la Chevreuse in 
Paris, of the Royal Bavarian Academy in 
1871, and of David Neal in Munich in 1876. 
Has sketched and painted in Rome, Venice, 
Egypt, and Syria. Studio in Munich. 
Works : St. Mark’s, Venice (1874); On Lin- 
den when the Sun was Low; Venice at 
Birth of Day ; Morning on the Riva at Ven- 
ice; Historical Still-Life of the 17th cent- 
ury (1878). 


443 


ip 


— 
«i, 


waht CATER LIBRARY Bees 


amplin, John ents 
Eedapeale of sire and paintings, 


NII CMAN 


3 3125 00239 6121 


. nod eae 
6h eye : ms 
Aine ee er ep rarer 

Saree 


mt 
ite 


ted it teh ~ ns 
ow 7 <= SE Nae eel ane ng Set Mil, Si 


